[Shawn Miller]

Hi Todd,

I always use the default install locations:

C:\Program Files\Adobe\Adobe After Effects CC
C:\Program Files\Adobe\Adobe Photoshop CC (64 Bit)

There was one solution I haven’t tried; uninstalling all Adobe applications, deleting all Adobe folders, then re-installing everything… but I really don’t want to do that if I don’t have to. 🙂

Thanks,

Shawn

[Shawn Miller]

[Walter Soyka] “I don’t really think “artist-friendly” when I think Renderman. Am I mistaken?”

I’ve heard that it’s a great tool for work groups, but maybe not as good for individual artists. Maybe the next release will be more friendly for 3D generalists (like me)? At the $500.00 price point, it’s a bit of a no-brainer though, isn’t it?

Thinking more broadly, I do wonder if this will hurt NextLimit, Visual Dynamics and other smaller developers… it’s not as if those companies also have powerful animation studios subsidizing the development of their products. Truthfully, I’m not even sure why PIXAR/Disney is interested in the sub-1k software market.

Shawn

[Shawn Miller]

[Simon Ubsdell] “Well, it certainly shows that if you want your interviewees to be in focus and you don’t want to blow your highlights and you want to avoid any number of really nasty artifacts, and you don’t want to have to grade everything B&W to cover up the colour problems, you’re certainly better off not trying to shoot on an iPhone.”

Agreed, even black and white couldn’t hide issues like ugly highlights on the faces of the subjects or limited latitude. Did you notice the strobing on the headlights? Terrible… I couldn’t take my eyes off of it. Sure, you can shoot commercials on a smartphone (with a $10k+ gimbal)… but why, when you can shoot 12bit raw video for less than $100.00 a day… I just don’t get the point. :-/

Shawn

[Shawn Miller]

[Aindreas Gallagher] “you’d miss the crappy sd digibeta anamorphic with a prime for the fancy shoot.
it’s pure mad how competitive cameras are now.”

It really is isn’t it? I’m just hoping this means that we’re making some headway in the war against 4:2:0, 8bit video!

Shawn

[Shawn Miller]

[Mitch Ives] “[Shawn Miller] “I’m not so sure that’s entirely correct, Oliver. I agree that this camera is aimed at filmmakers, but it seems like more of a budget “cinema camera” that isn’t aimed at DSLR shooters. I see it as an owner/operator/inexpensive rental camera. I think there’s a lot of pent up demand for sub 10k cameras that; have better than DSLR ergonomics, shoot lightly compressed CODECS, have greater than 8bit color depth and have professional i/o options (HD-SDI, phantom powered XLR, TC, etc). Higher dynamic range also seems to be higher on the list for budget digital cinema shooters than it used to be. I think the CION meets all of these requirements, as does the Ursa… if it ever ships. :-)”

A version of the Cion with an EF mount would change things quite a bit… just saying…”

Agreed!

Shawn

[Shawn Miller]

[Ricardo Marty] “you could be right but this ad benefits apple more than cion.
newbiees will associate fcpx with this camera and will think that its the only nle for that camera.”

Unless they read the product brochure…

Shawn

[Shawn Miller]

[Oliver Peters] “[tony west] “Who is the CION aimed at?”

CION is aimed at the uppermost tier of this industry. It lacks ENG features and requires very expensive glass. It is geared to film DPs. A fraction of the amount of X users will ever come close to a CION.”

I’m not so sure that’s entirely correct, Oliver. I agree that this camera is aimed at filmmakers, but it seems like more of a budget “cinema camera” that isn’t aimed at DSLR shooters. I see it as an owner/operator/inexpensive rental camera. I think there’s a lot of pent up demand for sub 10k cameras that; have better than DSLR ergonomics, shoot lightly compressed CODECS, have greater than 8bit color depth and have professional i/o options (HD-SDI, phantom powered XLR, TC, etc). Higher dynamic range also seems to be higher on the list for budget digital cinema shooters than it used to be. I think the CION meets all of these requirements, as does the Ursa… if it ever ships. 🙂

[Oliver Peters] “I doubt it. AJA has a very tight relationship with Apple and a number of their products are and have been co-developed. They have also licensed ProRes for use in the camera by way of the KiPro technology. It’s in their interest to cross-promote Apple products, especially when Apple is making a big deal out of 4K. They certainly aren’t going to stick Resolve into the ad ;-)”

Totally agree, AJA has always been an Apple centric company. I don’t see their use of FCPX in an ad, as a sign that they ‘know something’ that the rest of us don’t. 🙂

Shawn

[Shawn Miller]

[Richard Herd] “WOW! I wish I wish I wish for CC. Soon but not yet.

What about Dynamics Processor and side chain input, is that in CC (currently it is in CS6 Audition)? Just curious Since everything I output is crunched to -12 dB I spend quite a bit of energy gain staging the compression.”

Unfortunately, no. The Dynamics Processor and side chain input are still only available in Audition… kind of strange when you think about it, really… I’ll submit a feature request.

Shawn

[Shawn Miller]

[Richard Herd] “And here is Audition’s.”

Which is also available in Premiere Pro CC, BTW. The MBC in PPro CS6 ins’t half bad either.

Shawn

[Shawn Miller]

[Aindreas Gallagher] “yeah, I’m revising the argument as I go.. it’s just somewhere in my bones i feel, if it was built right, by like, the super right people, gunning for a serious market segment, there actually is an idealised VA mograph application that the brand new design crowd would gravitate towards to execute their core concepts. simply because they could feel it had been made specifically for their use cases. Very well made, nimble, basically real-time and deployable to multiple screen use cases. It’s the last part where you feel AE fails spectacularly.”

Yup, I can certainly see where you’re coming from, and I don’t disagree at all. If I could get a stable application like this at a reasonable price, I would be all over it. Of course, it would also have to be cross platform, and be able to send standard file formats and XML to and from other applications.

[Aindreas Gallagher] “I made the argument below with simon, but you could argue that a lot of the important mograph design work of the last 6-8 years (weighted to the back end), occurred in flash, and informed a ton of what is going on now? AE really did not lead the flat dynamic design aesthetic.

you’d think a lot of the current mograph aesthetic – and the broader procedural dynamics – are an AE latecomer outcropping of that environment and the practitioners who gravitated to it? because they had a clean room operating environment?”

Absolutely! I would even say that the work of Flash animators started influencing the rest of the mograph community as far back as 2000.

Speaking of, I was asked to add subtitles to this video a few weeks ago. I don’t think it would look anything like this without the influences you’re talking about. I think the ‘Flash aesthetic’ is here to stay.

https://www.youtube.com/watch?v=7jkbG1RgvUY

[Aindreas Gallagher] “granted we’re bullsh*tting a fantasy application, but you’d feel a design clipper has a reason for being in opposition the QE2 that is AE.”

For sure, I think there is definitely room for a fresh perspective on motion graphics software. Now I wonder if someone is working on something like this as we speak… stranger things have happened. 🙂

Shawn