Shane Ross
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HEY! I worked with that Sean Baker guy, who shot the film on an iPhone. Well, I worked with him BEFORE he did that…on a show on MTV called WARREN THE APE. Cut with FCP, graded with COLOR. Oh so loooooong ago.
Shane
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OK…thought. Do a video mixdown of your sequence. Duplicate the sequence and put that video mixdown on an upper layer…put that into a new bin. Open that bin in a new 59.94i project. If it doesn’t interlace it properly, do the thing you did to make it work and then export that. This is what I do when needing to deliver a 59.94i QT from all 23.98 material…digitally. Normally the IO device adds it upon out to tape.
Shane
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Are you looking at this on an external monitor that’s connected via video IO like Nitris, or Mojo, or Blackmagic or other? Does this monitor display interlacing? Only TVs and broadcast monitors do that, computer displays don’t show interlacing. And Avid only shows one field in the interface.
Shane
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[Oliver Peters] “It may well be that it uses standard and user-replaceable socketed/slotted ports for RAM, drives, or GPU. “
Maybe…but as apple seems to be moving farther and farther away from ANY user customization that they don’t pre-configure, I’m not holding my breath.
[Oliver Peters] “But slots for add-in cards? That’s where I think Apple will draw the line.”
I wonder why that is? WHy did they go “NO! You can’t do this anymore…we don’t like it.” So stupid.
Shane
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[Oliver Peters] “I kinda have to ask why? Because at least right now, the iMac Pros and even many 5K iMacs deliver better performance.”
The need for two displays and video IO to a client monitor…even in offline bays. Connectivity to servers. That little trash can did NOTHING to contain any mess. The amount of cables coming off that thing was embarassing, unsightly. And they got hot hot hot.
I have been in exactly ZERO edit bays/cutting rooms that use iMacs. All are on trash cans, or 2012 towers. The only iMacs I see in the process are on story producers desks.
Performance is one thing…but containing cable mess is also a high priority. And expanded connectivity. It will be interesting to see if ANY iMac Pros pop up in broadcast bays. I’m hearing more rumblings about getting HP Z6 machines or buying 2012 MacPros and upgrading them. We love our towers.
[Oliver Peters] “vid – I don’t see, since the bulk of Avid work for film and TV is in the proxy world and MC really doesn’t make much use of the GPUs. Any Mac would do. “
Yup…which is why many of us are still on 2012 Mac Pros.
[Oliver Peters] “At least with Premiere and FCPX, you have a lot more people working in original, native media, where the machine performance is critical.”
And Resolve. And more and more Resolve bays…and online bays in posts houses…are going PC. Or have 2012 MacPros with external boxes for GPU. Even Trash cans. No post facility or online bay has an iMac at it’s core. Online has demands that like machines with slots, or that are rack mountable. iMacs don’t offer that. If I hear of one in use I’ll let you know. But iMacs are mainly single user edit stations that are self contained.
Shane
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Well, there is a BIG market for MacPros in my world….broadcast TV. But as it has been pointed out over and over and over again, we are a very small minority of all the video production that happens out there. Still, in Hollywood and NY and Atlanta and other broadcast markets across the globe, they could sell tens of thousands if not a couple hundred thousand units. Not just Avid people use them…premiere people do too, as well as more than a few FCX users. Will it be as profitable as the ipad or iPhone…no, of course not. But still, there is a market for them. If we don’t see them, you’ll see a huge migration to HP or Dell…not a lot of iMacs as edit stations aside from story producers….
Shane
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That Steve Jobs ad about changing the world..paid to use that footage.
I work on historical docs, and can tell you that places are pretty darn good at catching those who use their footage without permission if it’s aired or put on YouTube. And just because you found it on YouTube, doesn’t mean THEY own the license. or if you got it from Pond5, even THEN, they might not own the license. For instance, I had a shot of a 1950s living room at Christmas time in a doc I was onlining. ON the TV in that clip was THE FLINTSTONES. We bought the right to use the home movie footage, but I had to blur out the Flintstones, because we didn’t want to pay for the rights to use it…and we WOULD have had to pay.
Places where we use all sorts of clips from everywhere to sell ideas is in Sizzle reels. Things ONLY networks see…and to give them an idea of a show we want to do. In those cases…as long as ONLY the network execs see it, we tend not to license the footage. Only if we then take that show to air, or to the web…where we are publically presenting it. But yes, even that is treading on very thin ice
Shane
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Typically, yes. But with Apple there, who knows? They might be cool with it. I know one time early on they weren’t. But Michael (who runs it) posts a cast on the meeting a couple weeks later.
Now debating if I should go at least to mingle at half-time break….
Shane
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No, mixed frame rates don’t really matter. TAPE ID/REEL/SOURCE ID do…they do matter. And footage imported into Avid and, well, ANY NLE outside of old FCP 7, doesn’t add this information. So it’s something you need to add manually, in Avid. And THEN export the AAF.
Shane
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4K formats aren’t interlaced, so if you shoot 4K, you are shooting progressive. And there’s no way to make progressive full frame formats into Interlaced two field formats. You can export something FLAGGED as interlaced…media readers will see the metadata as interlaced, but it will be progressive.
Shane
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