Tim Jones
Forum Replies Created
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[joe zabrosky] “if i can make it sound good on the worst it will sound good everywhere else.”
Joe – this is a very bad assumption to make. I’ve worked with a lot of high end studios and there really is a science to getting the audio good on the low-side and stay good on the high side.Here’s one thought – if you’re creating a normal DVD, your answer may be in multiple audio options – Stereo for low-end systems to Digital 5.1 for the high-end systems.
Mix the basic stereo audio to focus on the sounds between around 350Hz and 12.5KHz. Don’t completely toss the other frequencies, just roll them off. You’re going to lose the bass, but at least you won’t be crackling those little speakers.
You can then focus on the full mix for the high-end systems without sacrificing your audio quality.
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
Be sure to backup your library bundles before you upgrade as there’s no turning back once the library bundles are “upgraded”.
Where I come from, a feature change such as this should get the middle number changed, not the last number:
Version number . Feature Level . Bug Level
For most apps, changing 10.1.1 to 10.1.2 indicates that a bug (or three) was fixed, not that a major feature change was made…
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
You may THINK that you have standard H.264 clips, but I’ve found that to not be the case. My solution is Handbrake. Fixes the questionably encoded clips from PC world and they edit fine on the Mac.
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
Hi Eric,
It’s the base model new Mac Pro with the memory upgraded, so they are the 2 ATI D300’s.
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
🙂 Kevin – less of a report of success than a “what am I doing right (wrong)” post. I’m concerned that others are having serious issues while I’m not. That’s why I also mentioned that I’m using largish (4TB) SSD arrays for all disk-assigned activities. Maybe there’s a level of I/O latency that’s getting into the mix?
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
It’s safe to update because the 14 package installs in a separate structure and doesn’t replace your existing CC installation. That lets you see both versions so you can make the decision.
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
[Kevin Monahan] “You can make a feature request for nitrate adjustment for DCP here”
I’ve always wondered why we couldn’t adjust our nitrate levels :). Looks like autocorrect wins again!
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
[Nevin Styre] “-I’m testing on a 2012 retina macbook pro & rendering these in premiere is extremely slow if you have AE open, I even prerendered & replaced everything in my lower 3rd template except the editable text and it still renders at a snail’s pace with AE open.”
This was the first thing that I noticed. AE 14 seems much more memory hungry than AE CC. However, the tradeoff is that I am seeing renders on my rMBP and my New Mac Pro that are almost double what I see with AE CC.
My recommendation – don’t try to multi-task with the new apps if you have less than 32GB of RAM. I can get work done in 16GB, but it’s painful compared to the CC apps.
Hmm, is that how we should be differentiating them – CC versus 14?
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
I find FCP X to be rock solid and fast – then again, it’s the showpiece for the new Mac Pro architecture, so I would expect that. As for multi-monitor setup, I use a 2 monitor setup and it works great (as do PP CC and PP 14).
Fortunately, I’ve not run into hampering issues with PP on my Mac Pro under 10.9.3. Guess I’m ether lucky or I haven’t hit the wrong combination of operational features :). I’m still getting my feet wet with PP 14, but I’m liking what I’m uncovering, so maybe you should just wait and see (and provide feedback to Dave and the team) since you’re already comfortable with PP.
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters! -
Brian,
I understand your rift with Apple on the FCP7 death (I also jumped from 7 to PP at that time), but have you taken a moment and looked into FCP X? I’ve monitored all three majors over the last 3 years and I have to admit that FCP X 10.1 is quite an impressive creature compared to 10.0. I especially love the multi camera and audio matching features. Granted, I edit training vids and tradeshow trailers versus feature films or TV episodics, but I’ve come to appreciate the fluidity that FCP X provides – once I released my hold on “but it’s different.”
OTOH, I’m also running PP CC and 14 on a new Mac Pro with 10.9.3 and both are running rather well over the past couple of days. While I’ve not exceeded a 20 minute project, both versions work as expected here. The only thing I did run into is that AE 14 seems to be much more memory hungry than AE CC was.
I also both own and subscribe to Avid’s MC/Symphony, and their latest is also running fairly well under 10.9.3 on the new Mac Pro.
All anecdotal, but maybe a new look at FCP X might be in order.
Tim
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Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!