Shawn Miller
1
COW Coin
Forum Replies Created
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[Simon Ubsdell] “[Shawn Miller] “I would be interested in hearing your opinions about working in Fusion after the project!”
One question I keep meaning to ask you, since I know you are a seriously hardcore 3D user, and that’s what you do with your multi-pass renders.
For my part, I really enjoy putting these together using a linear workflow in Fusion. Using nodal compositing for this seems to me to mean that you can go places very easily that are either very cumbersome or almost not possible at all in After Effects.
Are you using Ae for this or is that where you use Nuke? Or something else?”
Hey Simon,
Yes, you’re completely correct. I still work in linear in AE sometimes, but multi-pass compositing can be a bit of a hassle using that tool… it’s just easier to isolate elements in a shot and move up and down the ‘processing chain’ in a node based system. I use AE for straightforward ‘lite’ compositing; text and graphics integration with live action video, simple shots that don’t have a lot of elements, etc. For everything else, Fusion has turned out to be the best tool for the job. I don’t pretend to know it well, but I’m still learning. ☺
EDIT: I miss Conduit! 🙂
Shawn
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[Richard Herd] “I would like to buy an Adobe OS, actually, running on Adobe hardware.”
Even if such a machine could only run Adobe software? ☺
Shawn
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[Richard Herd] ”
Oh, yeah, it’s free. So…ok, I have a very low profile project with a hard deadline of May 22. So here we go…..”I would be interested in hearing your opinions about working in Fusion after the project!
Shawn
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[Joe Marler] “[Shawn Miller] “Wow, what level of compression and how many layers of Redcode Raw?”
That was three layers of 7:1 6k from a Red Weapon. However upon further testing it seems Premiere CC 2017.1 is actually faster than FCPX on the same 2015 iMac 27 for that codec. My recollection was a year or so ago FCPX was faster. Vashi was using Premiere from a year or more ago, so maybe today he wouldn’t need that many cores. Premiere seems to have gotten considerably faster over the last 1-2 years, especially for H264.”
That makes sense, the last time I used Redcode in Premiere, 4k was unusable at 4:1, but 8:1 was okay on a dual, quad core 2.4 Ghz PC running Windows 8 (it was a while ago).
[Joe Marler] “This shows how Apple cannot lollygag on performance issues, because the competition is always improving. While FCPX is generally very fast, it has less performance leeway than Premiere or any other editor. E.g, a slower version of Premiere is just a bit slower — you can still get work done. By contrast a slow skimmer or Event Browser is almost unusable — it essentially removes those features from the table.”
All good points, thanks for sharing.
Shawn
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[Michael Gissing] “[Shawn Miller]”Are you still shooting with the 4.6k Ursa Mini Michael? If so, what format are you tending to capture in?”
Yes plus I also have my older Blackmagic 4k brick. Mostly I am shooting UHD ProResHQ with ‘film’ gamma. This is to minimise editing issues with 4:1cDNG raw. I am occasionally shooting the compressed raw on footage with high dynamic range or difficult lighting conditions to get the most in post. The docos I am shooting/ producing are largely in controlled lighting so ProResHQ is fine for that. Compressed raw is not a lot more data but I’m balancing editing efficiencies and also the director can’t view rushes in cDNG on her laptop but can just play UHD ProRes so I don’t need to transcode rushes.”
Thanks for the info, that was exactly what I wanted know; if when and why you were shooting raw. ☺
Shawn
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[Michael Gissing] “My personal preference is knowing what is important and appropriate framing whilst listening. This is done with the knowledge that with 4k resolution I can punch in a bit more too. I have two cameras but rarely use both together.”
Are you still shooting with the 4.6k Ursa Mini Michael? If so, what format are you tending to capture in?
Shawn
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[Joe Marler] “Of course the Mac Pro is plenty fast enough to edit Red Raw 6k using FCPX, since I can do that on my iMac.”
Wow, what level of compression and how many layers of Redcode Raw?
[Joe Marler] “As it was Apple lost the sale and Vashi bought several Dell workstations. That’s what happens when Apple doesn’t update hardware for three and 1/2 years in a performance-critical market segment.”
That seems to be happening a lot. I’m interested in seeing what Apple will do to become competitive in this space again.
Shawn
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[Joe Marler] “Vashi’s demonstration was really good, highly informative and a pleasure to watch. The fact he cut 6k Red Raw natively was impressive, although it took a dual-socket 40 core machine. “
What’s wrong with that? Dual 10 core workstations aren’t exactly rare as modern workstations go. ☺
Shawn
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[Andrew Kimery] “[Shawn Miller] “Sure… how many editors do you think there are that can actually get farther with Resolve than with Premiere and the Lumetri color panel though?”
I think it depends on the complexity of the grade and if the editor already knows how to use Resolve. For simple color correction on short videos with tight turn around times I really like the Lumetri color panel. If I’m doing something more complex/creative I can get more done faster in Resolve (especially if it’s a long form project). But a while back I took almost a two year break from editing and focused on color grading so it’s fairly easy for me to put that hat on again.
I used to color grade inside of FCP Legend, and I could get very good results with FCP, but it took more work and more time to get the results I wanted. Once I started using Color (and later Resolve) my time on task when down and the quality of the end results when up. But, again, horses for courses. I think there are times when something like Lumetri is the best solution and some times when something like Resolve is the best solution.”
Totally agree – I’m not much of an ‘either or’ person myself, so it makes sense to me that some tools fit some projects better than others. I was mostly responding to the notion that editors will necessarily reach for Resolve because it’s more powerful than the Lumetri color panel or similar tools. I have a sneaking suspicion that folks who mostly edit for a living won’t be looking to go as far down the grading path as you have.. but that’s just my opinion. ☺
Shawn
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[Tim Wilson] “[Shawn Miller] “That’s right – my first version of Premiere was 4.x, and that was in 95 or 96… I think.”
You’re quite right, sloppy language on my part. The first dual-platform version was indeed Premiere 4, in December 1994.
What I should have said was that it “originated as a Mac-only product”.
Thanks for catching that. :-)”
All credit due to eagle eyed Andrew Kimery! ☺
Shawn