Walter Biscardi
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You’re still running leopard or is that a typo and should be 10.6.8?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
Uncompressed 1080 HD footage will require a VERY fast hard drive array running at least 350MB/s
What type of media array are you using?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Marco Solorio] “(And don’t get any wise ideas… we’re not going to the beach, dude)”
No you’re not. You’re taking me……
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
Thanks Nick!
Let us know what kind of bribes you will require in order to expedite the process. Chocolate. Ice Cream. Gift cards to Applebees. Whatever you need….. 🙂
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Tim Langston] “I keep thinking I’ll wake up and find that it was just all a bad dream and Apple has really released FCP Studio 4.”
For an intents and purposes, Adobe CS 5.5 is actually better than Studio 3 was with the sole exception of Apple Color. If there was a way for Adobe to buy that and roll it in, we’d be completely set. There is a LOT I love about CS 5.5 and am wondering why it took so long for me to switch. Little thing like
True native editing with camera files.
Color coding all my materials as they are imported, no labeling the clips afterward. So if I assign a Purple to my Graphics files, each time I import a graphics file, it’s already color coded to purple.
Color coding stays in the timeline.
Independent selection of Photoshop imports. Import it flattened, layered or selected layers.
Using submixers in the audio mixer.
Type on Video text too AND can create a whole slew of text files in one shot all based on the same template.
And there’s a lot more. AJA and Adobe need to work out the handshake better so we get butter smooth playback all the time to the external monitors like we do with just the Adobe player, but I know they’ll get that working in short order.
Overall, the switch from FCP to Adobe Premiere and the entire CS 5.5 suite is quite simple. It’s like this entire situation happened at exactly the right time.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
They are one and the same drivers so yes they’re ok.
As I explained in my recent video on Vimeo, you have the AJA 9.0.1 DRIVERS for the card and the 9.0.1 Plug-Ins for CS 5.5
Two items that need to be installed and yes they perform just fine on the same machine.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Joel Arvidsson] “Does this mean you actually have use of a quadro fx card now when working in premiere. Before it seams like the mercury didn’t boost anything for the aja output. Any experienced working with CS5.5 and a quadro fx card or other cuda supported cards?”
No, the Mercury Engine is three things. Processor, RAM and Graphics Card. With the AJA Kona board, now it’s a fourth thing since the card can be used as part of the overall engine.
So how much realtime / Mercury performance you get from your system is the sum of those four things. I’m running all ATIs in our shop here except for our Resolve system. Premiere is working just fine here with ATI.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
You don’t want to capture to ProRes moving forward with Premiere because as Gary says, that codec won’t be available on every Premiere system you might work with.
Did you go into the QT Setups when you selected the AJA Kona board for Capture? You would select you capture codec from there. This is one thing I’m figuring out right now myself, how I want to capture footage moving forward with Premiere. I’m just testing multiple capture formats to see how it all works.
FYI, ProRes should play back smoothly if you start it in a brand new timeline. Just drag any ProRes Clip down to the “New Item” icon at the bottom of the Project Window and that will create a new Sequence based on the clip parameters. Your video playback should be smooth both in Premiere and to the monitor.
I’m seeing some issues when I XML a Project from FCP to Premiere and then copy / paste my sequence elements to a new AJA formatted timeline. I do get some stuttery playback and have reported that to both AJA and Adobe via their feedback pages.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[David Battistella] “Ok. But to be clear, my level of professionalism does not change with the tools I am using.”
Not one bit. People pay for your talent, not for the tool you use. I’ve always said put a lousy editor in a $1 million edit suite and you still have a lousy editor.
[David Battistella] “Rewind about ten years and run the numbers on what that whole set-up you have right now would have cost you in 2001 dollars.”
I already wrote at length about that in my blog “Thank You Apple.” It’s because of Apple’s dominance in the market for the past 11 years that all of us are able to enjoy the ability to open our own shops at a much lower cost.
https://www.biscardicreative.com/blog/2011/06/thank-you-apple/
[David Battistella] ”
Now we want to take Apple’s heads off for bringing in something at 300 bucks that has no where to go but up? That has me scratching my head.”I’ve made my points clear in my writings and discussions as to why I am leaving the platform so no need to repeat myself here.
David you and I go way back and you know I very much respect you and what you do. At this juncture we depart ways on the tools we use, but that’s pretty much it. You’re still going to make incredible projects and I’m going to call on you from time to time for advice.
Quite honestly, if nothing else FCPX is going to create the next generation of editors that we’ll all be hiring in a few years……
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[David Battistella] “That’s nice. Call every single professional on this forum and around the world who likes the software and has a positive attitude a prosumer.”
David, Variety magazine ran an article yesterday that featured both myself and Philip Hodgetts. Philip clearly agrees that Apple is gunning for the large prosumer market while the professional market will gravitate towards Adobe / Avid:
“If you look at the price for Final Cut X, you could say they’re turning away from professional users and more toward a prosumer audience — and, honestly, that’s where there’s a lot of money,” says Hodgetts. “I think it’s a win-win all around because Final Cut will become more a prosumer product in its current state and Adobe and Avid will end up with more of the professional consumers.”
There’s no denying where this software is aimed and there’s no real reason to even fault Apple any longer for going this route. They are a consumer company and the consumer market is infinitely much larger than Post Houses, Filmmakers and Broadcasters. They could sell 2,000,000 copies of a really high end Final Cut Pro or they could 10,000,000 copies of something that makes it easy for anyone to just pick up the software and cut their projects.
There’s also no denying that some professional post houses / filmmakers / editors are going to use Final Cut Pro X as part of their arsenal or maybe even their only tool. It’s their choice to use it.
Full Article from Variety (Note, they kept the Cow in there. Woot!)And another very interesting article about how this whole “high end” thing might have been an unintentional path all along, that the consumer was really the market this whole time. FCPX brings Apple full circle back.
Video/Film Pros According to Steve JobsWalter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media