Russ Froze
Forum Replies Created
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It is still clunky and awkward to work with and as stated by John the bin thing is restrictive as is the timeline workflow. The open ofx plugin is a nice touch but if you wish to sweeten audio there is still a need to go to a separate audio editor.
There is a strange hybrid workflow attempting to be the end all for everyone. With a promise of great toolset for the small independent filmmaker and web broadcaster up to feature film workflows with tons of work stations manned by specialists in their field all working on a unified system. The ability to share edit versions, notes and render farms it really sounds great especially for the price of free. The gotcha comes when there is a need to render output above HD, then the bill is $900.00 plus and network rendering licencing is a bit vague.
For myself it appears to be business as usual from the parent company. There is a lot of hype and promises. Follow through is usually just a bit shy or there is some provision that is not clear at the outset but becomes crystal clear later and surprises are something I do not need after I have presented a budget to a customer. There is nothing worse than having to go back and ask for more money because some info was withheld. And that is the crux of the situation. Can I put my trust into the company?
Russ Froze -
[Timothée Ferreol] “ACES or ACEScc becomes really usefull”
I don’t know about the other kids but for myself it is a workflow that allows for basic color grading, matching multiple cameras of a live shoot in post or production that is shot over a time period, like a feature film. A workflow that assists in producing a consistent look with predictable results. Yes I can use roundtrip workflow like color grading in Resolve or some other app but working with the ACES workflow allows processing of the files without the need to generate more files which in turn saves time and storage space. Also it allows for a known color space output directed at a specific player. IE broadcast, web viewing or a theater projector.
The work flow is also more forgiving allowing for a bigger fudge factor when shooting. Or perhaps if there is a desire to attain a consistent look in a series shot on a weekly basis. Basically the same reasons for the desire to shoot in raw.Granted the procedure at first glance seems more work than winging it but once it is set up it may well be quicker than starting each shot or episode from scratch. In short it may well lead to a faster production workflow. Also keep in mind that the ACES and ACEScc is a standard and can be deployed across all applications that support it as well as platforms. Time is money as they say.
But hey, that’s just me.
Russ Froze -
Thanks Steve,
I’ve been messing with the aces workflow but not really understanding what I was doing. This is great info.
Russ Froze -
Or as suggested, create a veg with all the bins and content needed for the project, clear the timeline and save it as as project name template. Replace project name with the name of the project. Then open the project name template file do the edit and save it as, oh pick a name that is relevant. That’s what I do.
Russ Froze -
Look, just set the framerate to 30 in the project properties and cut the first few frames off. At least try it and get back to us with a report. And do try to stay away from recording devices that have a variable frame rate. There is enough math to do without having to guess at what should be a constant. 😉
Russ Froze -
It depends on the number of files to be used. For simplicity and compatibility for my Mac brethren I use Prores. Keeping in mind the 32 bit Quicktime limitations in windows. It’s not the length of the files, rather it’s the number that causes a bottleneck. If the plan is to use many takes then I use DNxHD. Also I keep the bitrate in Vegas down to 8 Bits for cutting and turn on the 32 bit for color correction and finishing. Toggling between preview modes also helps the editing process. It is a tradeoff for the task at hand.
Russ Froze -
No it is not a replacement for any NLE. It is a toolset much as the apps that were created when it came time to migrate from SD to HD footage. Please note the primary function of the toolset is to generate intermediate files for various platforms ranging from desktop models down to tablets. Finally there is a service offering to upload to a cloud system. My suspicion is to compete with Adobe and Avid who already offer such services.
Also I suspects the basic tools such as color grading is provided to avoid sowing flat images to clients or directors and stringing together a days worth of shooting would also be of use to determine the flow of a story.Now this is merely my conjecture so as to the exact reasons as to why the software was created you will need to ask Sony.
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Hi,
Sorry to say but there are but two codecs for Atomos products. For myself I find either codec works well enough to edit in Vegas. May I ask if the recording are in 4K?
Russ Froze -
No it is not a replacement for any NLE. It is a toolset much as the apps that were created when it came time to migrate from SD to HD footage. Please note the primary function of the toolset is to generate intermediate files for various platforms ranging from desktop models down to tablets. Finally there is a service offering to upload to a cloud system. My suspicion is to compete with Adobe and Avid who already offer such services.
Also I suspects the basic tools such as color grading is provided to avoid sowing flat images to clients or directors and stringing together a days worth of shooting would also be of use to determine the flow of a story.Now this is merely my conjecture so as to the exact reasons as to why the software was created you will need to ask Sony.
Russ Froze -
Just for the fun of it, which codec is in use and what is the bit depth?
Russ Froze