Shawn Miller
1
COW Coin
Forum Replies Created
-
[Jeremy Garchow] “But it went on to say:
“One question that we’ve been seeing a lot–especially since the recent announcements of a couple of cameras–is why Premiere Pro doesn’t import CinemaDNG files. The answer is simply that we have not been satisfied with the performance that we have been able to achieve with CinemaDNG files in Premiere Pro, in which real-time playback is crucial.”
It looks like perhaps that’s been ‘fixed’. I guess we will see in October.
Jeremy”
Yes, I took that to mean that they weren’t making cDNG support a priority in Premiere, not that they were dropping it altogether. I also thought that they were talking about 12 bit cDNG in particular, as the 8 bit version had been working all along… at least that was my understanding.
Shawn
-
[Walter Soyka] “[Craig Seeman] “And I hope Apple and/or Blackmagic doesn’t ignore Grant Petty’s NAB suggestion to support CinemaDNG directly in FCPX.”
That implies image sequence support — I’d love to see that, too!”
Backup, I feel like I’m reading that wrong… FCPX doesn’t support image sequences?
Shawn
-
[Jeremy Garchow] “Didn’t Adobe dump DNG support in Pr because they weren’t happy with the real time performance?
https://blogs.adobe.com/aftereffects/2012/09/cinemadng-in-after-effects-cs6-...
Is Apple going to be able to do much better?”
You should check the updates to Todd’s blog post:
“A recent post on the Adobe Labs blog seems to have confused many people with this sentence:
“The Cinema DNG Initiative has been discontinued and is no longer hosted on Adobe Labs.”
What this is intending to communicate is simply that the experimental plug-in for CinemaDNG for Premiere Pro CS5.5 was removed from the Adobe Labs website. The CinemaDNG format continues to be an open format, and its development is not limited to Adobe. We moved the specification and other materials from the Adobe Labs area of the Adobe website to the Adobe Developer Center area of the Adobe website.
CinemaDNG files can still be opened by any current Adobe application that includes the Camera Raw plug-in for importing DNG files. This includes After Effects and Photoshop. Also, we just issued a bug-fix update for SpeedGrade that makes it work better with CinemaDNG files.”
Walter beat me to the next PPro CC update announcement. To your point though, I do hope Apple jumps in with a good solid raw workflow for CinemaDNG, and not just for FCPX. It would be good to see a FCPX<–>Motion<–>XML<–>whatever capability. Even though FCPX and Motion will likely never be my tools of choice, I want to be able to exchange media and projects with them if I need to.
Shawn
-
VCP tutorials are very good. Mostly because they’re conceptual in nature, and not so much about re-creating the projects being presented… although that’s what most people do. Don’t worry as much about the versions used, most of the really important stuff in AE hasn’t changed that much since CS3. I sometimes watch VCP tutorials in my spare time, even though I can re-create those shots on my own. It’s just good practice to see how other artists work. Sometimes you can pickup workflows and techniques better than your own, or sometimes it reinforces why you do things a particular way. It certainly couldn’t hurt to add what VCP teaches to your own knowledge.
With that said, I also (strongly) recommend watching the work of Aharon Rabinowitz here on the Cow, he also has a lot of good foundational stuff. I also suggest https://www.digital-tutors.com, they have entire learning tracks that are designed to take you from beginner to intermediate operator in a fairly short time. I also suggest that you read (from cover to cover, multiple times) Mark Christiansen’s Adobe After Effects CS6 Visual Effects and Compositing Studio Techniques along with Steve Wright’s Digital Compositing for Film and Video .
Lastly, do yourself a really big favor and get a Lynda.com subscription, as Jonny says they do a great job, but specifically, you’ll want to absorb Trish and Chris Meyer’s After Effects Apprentice course… there’s 100 level gold in those videos. I wish training of that quality had been so inexpensive (and online) when I first started out. I would have saved thousands of dollars! 🙂
Shawn
-
[Jacob Brown] “wonder if he’ll find a buyer!?!?
https://newyork.craigslist.org/brk/pho/4063766768.html“
Can you still activate a FCP license?
Shawn
-
[Oliver Peters] “[Shawn Miller] “Maybe there’s an argument to be made regarding compositing and keying 10bit vs 12bit footage… but I’d have to work with more 12bit footage to know.”
True, but then you wouldn’t be working in FCP X anyway ;-)”
Ha ha, touche’. 🙂
Shawn
-
[Oliver Peters] “While technically that’s absolutely right, there are now a number of features out in theaters that were shot Alexa ProRes4444 or HQ instead of raw.
Absolutely, not saying that Prores or DNxHD aren’t great and appropriate choices for many or most shots. But for some tasks, higher spacial resolution and more color are a definite advantage. I think it might also be worth noting that most films are shot and posted in a variety of formats, so I don’t think it’s an either or proposition. My guess is that raw and compressed are used where appropriate.
[Oliver Peters] “Not much difference to the DP or most viewers. At some point it becomes an esoteric argument.”
I have to respectfully disagree here. 🙂 Tracking and stabilization tasks can certainly be made easier with higher resolution footage. Maybe there’s an argument to be made regarding compositing and keying 10bit vs 12bit footage… but I’d have to work with more 12bit footage to know. We’ll see. 🙂
Shawn
-
[Bill Davis] “Is cDNG open source? Or is it patented property? If the latter, then if Apple includes it in their output mix, don’t they have to license it? And if so, doesn’t that give the licensing body the ability to pull it if things go sour?”
CinemaDNG is an open format.
https://download.macromedia.com/pub/labs/cinemadng/cinemadng_p1_spec_091009.pdf
“There are no known intellectual property encumbrances or license requirements for CinemaDNG or its underlying formats DNG, TIFF, XMP, or MXF”
-
[Oliver Peters] “If you shoot with the BMD camera and record with BMD Film (their flat gamma profile, like Log-C) using ProResHQ or 4444 – and the temp/tint/exposure is reasonably correct – then, yes, shooting raw gives you very little benefit.”
For most recording situations, that’s probably true. But the increased spacial and color resolution (12bit @ 2400×1350 vs 10bit @ 1920×1080) can be a big help with tracking and chromakey shots. Also, the BM cameras don’t shoot ProRes 4444, only HQ. 🙂
Shawn
-
[Craig Seeman] “He also said most wouldn’t see a difference between ProResHQ and cDNG.”
That’s just crazy talk. I just got to work with CinemaDNG for the first time last week, and I think it’s fantastic. My only real annoyance was having to work between Resolve and Premiere. Now looking forward to a more efficient PPro to SG workflow.
[Craig Seeman] “Granted it’s my interpretation of what he said but with cDNG now in cameras at pedestrian prices, I hope Apple reconsiders.”
Agreed, it seems like CinemaDNG support should be a no brainier for all of the major NLEs… since it’s an open standard and all.
Shawn