[Shawn Miller]

[James Culbertson] “[Shawn Miller] “I thought Microsoft Studios and Amazon Studios were partly AVID and partly Premiere Pro these days… did they switch AVID for FCPX?”

Not completely sure about internally at Amazon Studios, but among outside contractors I have never heard mention of Media Composer. I don’t think they tell outside contractors what to use for the most part so some use Premiere and some use FCP 10. Microsoft Studios has been all Premiere for a couple of years.”

Interesting – it’s been a while, but the last time I was there, MS Studios was still about half Media Composer and half Premiere Pro (in house)… but that wasn’t long after they switched from FCP7. I haven’t kept up on what other MS groups have been doing in terms of post.

Every other internal corporate production/post production group and agency that I know of are mostly Adobe or Adobe and AVID (Accenture, Starbucks, Boeing, Macy’s, etc) – so I haven’t really seen an uptake of FCPX or Resolve… it could just be the circles that I run in though.

Shawn

[Shawn Miller]

[Shawn Miller] “[David Mathis] “I went on the BMD site to check for an update to Fusion standalone but noticed the 15.1 update was available as of today. I know for a fact it was available last week as well. Any ideas to why?”

Last week was 15.0.1 ☺

Shawn”

EDIT: Sorry, 15.0.1 was two weeks ago!

[Shawn Miller]

[David Mathis] “I went on the BMD site to check for an update to Fusion standalone but noticed the 15.1 update was available as of today. I know for a fact it was available last week as well. Any ideas to why?”

Last week was 15.0.1 ☺

Shawn

[Shawn Miller]

[James Culbertson] “[Neil Goodman] “It a great tool and I suggest everyone learns it to have in the back pocket – but to make a viable career off it in the major markets, is still but a pipe dream.”

In the Seattle area, I’ve actually had more work requesting FCP 10 over the last 3-4 years. It is corporate work primarily. I put off learning FCP 10 at first, but the high pay was a great motivator. Now I prefer using FCP whenever possible. I definitely agree with Mark Toia that it is the fastest editor available at this time.

No AVID here, its all Premiere and FCP 10. Definitely a lot of interest in Davinci Resolve, but not sure it is quite trusted for prime time work yet.”

I thought Microsoft Studios and Amazon Studios were partly AVID and partly Premiere Pro these days… did they switch AVID for FCPX?

Shawn

[Shawn Miller]

[Michael Gissing] ”

[Shawn Miller] “now, if they would just bring it to the Ursa 4.6k cameras…”

I am wondering if that is why DNx was dropped not so long ago. Leaving room for BRAW implementation? I see less need to have any ProRes flavours onboard with 8:1 and 12:1 RAW.”

I think that’s a very real possibility. I was a little skeptical when Grant positioned BRAW as a replacement for cDNG and compressed video, but after playing with samples, it makes more sense to me now. I’m very impressed with what I’ve seen so far and I can’t wait to shoot my own material in BRAW. I’m also cautiously optimistic that I’ll be able to substantially reduce my reliance on ProRes.

[Michael Gissing] ”
I wonder if Apple knew this was coming and rushed ProResRAW to the market half baked.”

That’s a good question… I thought it was odd that Apple released a raw format which doesn’t give access to camera metadata like iso, color temp, white balance, ect., but people seemed to spin it as an ease of use feature – thinking about it though, PRR seems more half baked than easy to use.

Shawn

[Shawn Miller]

[Michael Hancock] “This is what ProResRAW should have been from day 1 if it wanted fast, widespread support/adoption.”

Honestly, this is what I had always hoped for Cineform RAW – but I’m glad BMD is taking this approach. I think this increases the value of BMD cameras (that shoot BMDRAW) tenfold… now, if they would just bring it to the Ursa 4.6k cameras…

Shawn

[Shawn Miller]

[EDIT] Post removed – no new points to be made 🙂

[Shawn Miller]

[Oliver Peters] “[Shawn Miller] “I can sympathize with people who don’t have much experience working with image sequences”

It’s not experience, but time. More often than not, you end up having to transcode the sequences into something else, or use a proxy workflow. A lot of projects haven’t really budgeted in the necessary time or storage space.”

Ah, fair enough. I don’t think ProResRAW will change that. Instead of stumbling over five or six TB of CinemaDNG files, it will be eight or ten TB of ProResRAW… because “it’s easier to edit”. ☺

Shawn

[Shawn Miller]

[Oliver Peters] “[Shawn Miller] “Ah, that is a shame. I’m not sure why BMD ditched DNx on the Ursa Mini”

DNx requires a licensing fee as does ProRes. It could be minor. Not sure. But maybe BMD has data that not enough users of that camera also work with DNx to make it worthwhile.”

That’s probably true, it would be nice to have an alternative to ProRes though.

[Oliver Peters] “[Shawn Miller] “I’m also really hoping that BMD doesn’t adopt ProResRAW while deprecating CinemaDNG”

Unfortunately, the downside of cDNG is that it uses image sequences, which poses major workflow issues in post. ProResRAW will become a popular option, once it goes beyond Atomos and FCPX.”

Sure, I can sympathize with people who don’t have much experience working with image sequences, or who work on software that doesn’t support the format very well. But, the answer to those woes could just as well be CinemaDNG wrapped in .mxf or Cineform wrapped in .mov. I suspect folks would be a lot less excited about those options though.

Shawn

[Shawn Miller]

[Michael Gissing] ”
[Shawn Miller] “I always use eXFAT, but DNx is grayed out for me. What firmware version are you running and which Ursa Mini? I’m on the original UM4.6k.”

Same model as me. I’ll check and let you know. The camera has been on ProRes to match a long form doco I have been doing over the past three years. A friend borrowed the camera earlier this year and was shooting DNx I think after I updated to the latest software.

EDIT: Yes you’re right. That’s a shame. I updated to 4.8 a while back but the DNx job must have been before that. I was thinking of ditching ProRes on future jobs but I guess I’m stuck with it.”

Ah, that is a shame. I’m not sure why BMD ditched DNx on the Ursa Mini, it’s on all of their recorders and most of their cameras. I’m in the same boat with regard to wanting to move away from ProRes, but it just seems to be a fact of life in post. I’m also really hoping that BMD doesn’t adopt ProResRAW while deprecating CinemaDNG, if that were to happen, I would be in search of a new camera vendor.

Shawn