Shawn Miller
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COW Coin
Forum Replies Created
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[Lance Bachelder] “You got me on that one! I was about to go ballistic lol – Adobe was Windows only in the early PPro days and Cineform’s Prospect was the only way to get a decent “pro” workflow with Premiere – I was probably the first person to ever cut a 2K L/R eye project in Premiere/Prospect using the Cineform codec – those .avi’s still look great today.”
Ha ha, yes, sorry again for misreading that! Cineform is all kinds of awesome.
Shawn
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[Lance Bachelder] “Of the three DNxHD, ProRes and Cineform – Cineform is a far better codec comparing size/clarity and should have been bought by Adobe 10 years ago.”
That would not have been good news for Windows users. Initially, I was skeptical about GP buying Cineform, but I think they’ve done the right thing by them so far. Now, if they could just get Blackmagic to support Cineform RAW.
EDIT: Sorry, I saw Adobe and read Apple! Apologies Lance, it’s been a very long day!
Shawn
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[Devin Crane] “[Gary Huff] “I really don’t think there’s any disagreement about this aspect. I think it now boils down to whether or not you want tracks.”
Or want to pay a subscription and rely on the cloud.”
Assuming you believe that your only NLE options are FCPX or PPro CC… otherwise, there seem to be other good choices on the field (Avid, Lightworks, Resolve (someday), Edius, Vegas, etc).
Shawn
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[Walter Soyka] “[Shawn Miller] “Those folks are always doing cool stuff (MS R&D).”
Cupertino, start your photocopiers?”
lol – que anti-MS remarks in… 5, 4, 3… 🙂
Seriously though, I believe MS still spends more on R&D than just about every other tech company, I think Samsung is the only one that spends more on research than MS.
Shawn
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[Walter Soyka] ”
“We are working hard on making our Hyperlapse algorithm available as a Windows app. Stay tuned!”
https://research.microsoft.com/en-us/um/redmond/projects/hyperlapse/And the Microsoft Photosynth [link] project (which I think this is based on) is free.”
Those folks are always doing cool stuff (MS R&D). Would love to have stabilization software like this for time lapse sequences.
Shawn
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[Noam Kroll] “Hey Guys –
Just thought I would share this article with all of you. I’ve noticed that the quality of my Premiere Pro/Media Encoder outputs are significantly lower than the outputs coming from FCP X/Compressor when using identical H.264 settings.
Not sure if anyone else has noticed this, but I posted some frame grabs on my website here: https://noamkroll.com/there-is-massive-quality-difference-between-fcp-x-prem...”
Which profile and level are you using, is it the same for both programs?
Shawn
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[David Mathis] ” Why would anyone want to own when paying monthly rent that drains your bank account is so much fun? :-)”
If you don’t like subscription, you probably won’t like Nuke’s $1,000+ MSA either. If you’re serious about an inexpensive compositor that you can “own”, SGO’s Mamba would probably be a better choice for you.
Shawn
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[Michael Phillips] “The DPX files were probably 16bit at the very last considering the R3D files are 12bits
Michael”
Yup, completely possible. I would be curious to know what those VFX shots were, and what their pipline/workflow was. Was this a Maya/Nuke/Houdini/AE show with Pr as the hub… or maybe a Modo/Fusion/Ae/Mocha show, again with Pr as the hub. Would really like to see some BTS stuff on this.
Shawn
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[Marcus Moore] “I think I’m mostly referring to sit-coms, like FAMILY TIES or THE COSBY SHOW, which were shot video. In the 90s it seems like they went back to film with shows like CHEERS, SIENFELD and FRIENDS. I’m not sure when these kids of shows moved to digital.
I mean, it’s hard to say what the market for that 80s material is in the long run. But it is always amazing to think that shows from the 50’s and 60’s like LEAVE IT TO BEAVER or GILLIGAN’S ISLAND could conceivably be given a 4K treatment, while shows made decades later will forever be trapped in 480i hell.”
Ah, I see your point. Though, I think it’s always been a question of budget, even for popular shows like All in the Family or Barney Miller… video was just cheaper to shoot. Then again, who could have predicted (then) that there would be a market for high(ish) quality on demand video in the future?
Lastly, I want my episodes of the (1960’s) Twilight Zone in 10bit, 4k on physical media! 🙂
Shawn
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[Jeremy Garchow] ”
For 2.5k ProRes @ 1080, you could edit on an iMac.”Sure, but there were also the DPX sequences for VFX work… I assume those were 10bit? Maybe that’s what the beefy machines were for.
Shawn