NAB 2014

All posts about NAB 2014 into here please!

Cantemo Portal demo with FCPX here




Don't forget Jonathan's article on Cantemo Portal with FCPX Libraries here.

Option board allows ProRes recording on Sony F5 and F55

blog.sony.com/press/sonys-f5-and-f55-add...of-prores-recording/

BMD announce their full-size 4K production camera:

www.blackmagicdesign.com/products/blackmagicursa

:woohoo:

-Ronny

New Davinci Resolve editing looks a lot like FCPX.

Yep: organize and edit in FCP X, finish in Resolve. Those two are really growing closely together

- Ronny

I actually think with this new version (11) Resolve has parted with FCPX for good. It's an editor by it's own means. And it looks way too much like FCPX in too many regards. Curious what the folks at the FCPX team in cupertino are thinking about this.

I think once you have tried it you will find that it does not even have half of the capabilities of FCP X as it is now. It is becoming a decent online editor, which is good for a final polishing of the edit without having to go back to the NLE. Smoke has done the same for its compositing workflow. But both lack the speed of a true NLE when it comes to organizing and working on the timeline. Not to mention multicam work.

-Ronny

I know you guys are all waiting for it: Sony Vegas Pro 13 was announced! WooHoo! .... Um... where did everybody go? Guys?

blog.sony.com/press/sony-announces-lates...-vegas-pro-software/

Why post it? Sony Vegas is the only Windows NLE that I know of that can export an FCPX XML. So when you get a free copy with your Sony camera hang onto it. It might come in handy some day.

Good knowledge Ted!

In regards to Resolve 11 and it departing from FCPX, I actually the the exact opposite is true from what Blackmagic says on their web site:

"You can trim and finish projects started in professional editing software like Final Cut Pro X, or you can start editing a project from scratch in the Resolve timeline. "

www.blackmagicdesign.com/products/davinciresolve/edit

Final Cut Pro X gets the most "billing" so to speak on the Resolve pages. I think they are HUGE fans of Apple design and recognize that the future is where Final Cut Pro is.

No magnetic timeline BTW, which is the area where Apple has made FCP a 3rd generation desktop NLE. (This is just the way I think about my use of NLEs in my own mind. Here is my thinking: Randy Ubolous created the first Premier (1st gen) which was alot like the original Avid— Hardware codecs, focused on simple edits, not compositing. Then Final Cut Pro at Macromedia, then purchased by Apple (2nd gen), sophisticated compositing, software codecs. Premier Pro and Media Composer still fit in this camp. Now FCPX as the 3rd generation — magnetic racklesss timeline, tapeless, metadata, render less.

However, while a trackless timeline is a fantastic creative tool, tracks are a more comfortable finishing tool (IMHO) and Resolve is a great tool for that.

However, while a trackless timeline is a fantastic creative tool, tracks are a more comfortable finishing tool (IMHO) and Resolve is a great tool for that.

I absolutely agree! In this sense FCP X and Resolve make perfect partners, and more a real threat to Premiere/Speedgrade than to anything else.

-Ronny

Any news in the new Coremelt plugin that Roger Bolton is going to show.

ronny courtens wrote: However, while a trackless timeline is a fantastic creative tool, tracks are a more comfortable finishing tool (IMHO) and Resolve is a great tool for that.

I absolutely agree! In this sense FCP X and Resolve make perfect partners, and more a real threat to Premiere/Speedgrade than to anything else.

With that said I think the design geniuses at the Apple FCP team can make a trackless timeline, particularly the audio part, work well, and perhaps better for finishing that a track based one.

I personally don't think Apple is focusing on the competition in the NLE space. I think they are trying to make something great for users, not wipe out the fine folks at Adobe or Avid. Adobe and Avid have great products, but Apple is revolutionize the NLE and I frankly am enjoying the benefits of it in my business. FCPX has allowed us to increase our editing capacity at least four fold. I'm doing more projects faster, with a more efficient workflow and with much more focus on telling a great story, than I ever did with FCP legacy or other NLEs.

Apple said FCPX has sold 1 million installations. Way more than 7 ever sold, and 7 owned the market.

FCP 7 Studio cost about $1000.00US. X at $300.00 probably made going to that party a little easier I'm guessing, even if you add $100.00 for Compressor and Motion.

Heading to the post hall tomorrow - if anybody has any questions they want answered, happy to ask (I always never know what to talk about!)

Head of Engineering ARRI, Franz Kraus on "Why we don't show a 4k Cam at NAB"



... sorry, German only, no subs...
in short:

resolution is a nice one, but he predicts higher contrasts/dynamics, better color-resolution and (much) higher fps (120-200fps) as the future-proof trends/needs for camera makers. Laser projection, Dolby HDR TV, ask for more than just more pixels.

At the end he mentions Apple, Arri is being thankful how 'restrict' Apple keeps ProRes specs, to handle the amounts of data, all those new settings create. Says, twice the amount of pixels shouldn't result in twice amount of budget, just to handle the more data...


... from my 'movie goer/not movie maker'-p.o.v. interesting statements... Looks like, Arri thinks, 'end user experience' is more on HDR than UHD ...


Reminds me about a rumor, that Imax once should have done a test, splitting the screen into a black and a white half… then splitting into 4 squares … and again ... and (16, 32, …).. very soon, long BEFORE reaching 2k res!, the average movie-goer notices just 'grey', instead of single pixels...

...

I dunno about that. When I watch modern IMAX I see jaggies all over the place. Digital IMAX resolution is really poor, only being barely above HDTV. The pixels are at least as big as my fist. Maybe everyone else in the world just doesn't pay attention to such things, I don't know. I saw fewer jaggies and pixels when I watched Skyfall on Blu-ray than I did at IMAX. That's because my TV screen isn't 5,000 feet tall.

THe IMAX theater we attend regularly here where I live, ever saw a jaggie. I wonder what variations run across theater projectors and screens.