NAB 2014

ronny courtens wrote: Those two are really growing closely together

BM's website is actually 'MacPro-porn', isn't it? :woohoo:



www.blackmagicdesign.com/products/davinciresolve/power

It's more like a fiction. There is no way that many Mac Pro's currently exist in one place

fcpguru wrote: It's more like a fiction. There is no way that many Mac Pro's currently exist in one place

We have 15...

But that is not 16 :woohoo:

-Andreas

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

Any 3D IMAX is projected at 2K, vs full IMAX. I'm not sure if IMAX is even doing film presentation now outside of older educational venues.

Anyone at the show? What are the new Slice/Track X features? Has Roger demoed them?

Talked with Roger at the Supermeet. There wasn't a demo, but he said something to the effect of being able to copy paste tracking information across the plug ins. He also mentioned that the price of the plug ins with this feature may go up but would be a free upgrade to those who buy now.

So copy/paste of tracking info is "the features / workflow we will show at NAB will enable the types of effect that would previously have been done on online systems costing $100K plus to be done inside FCP X for $99.'"

I guess i don't do enough of this to understand the types of effects this will enable...

Being able to copy/paste tracking data can be huge. It allows for very complex compositing work much more easily.

Also, it could mean some other features couldn't be developed enough in time, so we'll see them later. What he's doing isn't easy by any means.

BenB wrote: Being able to copy/paste tracking data can be huge. It allows for very complex compositing work much more easily.

Also, it could mean some other features couldn't be developed enough in time, so we'll see them later. What he's doing isn't easy by any means.

I don't doubt it, as i said, it's a workflow I'm pretty clueless about...

Disproportionate Pictures wrote: Any 3D IMAX is projected at 2K, vs full IMAX. I'm not sure if IMAX is even doing film presentation now outside of older educational venues.

All digital IMAX is 2K period. 3D or 2D. All 3D anywhere for the moment is 2K even on 4K projectors. But usually theater operators don't move the 3D hardware out of the way so that means even their 2D presentations will be 2K on a 4K projector with a 4K video file. The Sony 4K projectors are just awful, by the way. There's not much left in the way of 15/70 IMAX film. A few places still have it. An easy way to tell is to look back at the booth during the movie (not the preshow if there is one). See two projectors on at the same time? Digital Imax. 2K resolution. See only one projector? 15-perf 70mm film. This is nearly (but not quite) 6 times the size of an average 35mm film frame which itself is the equivalent of 4K. However one thing to note is that a lot of movies are shot on 2K and 4K cameras, edited digitally and then DMR'd to IMAX film. You actually lose a little resolution this way (just like upscaling in FCPX) but you gain a lot of light.

tedmcneil wrote: I Why post it? Sony Vegas is the only Windows NLE that I know of that can export an FCPX XML.

Good information to know!

Karsten Schlüter wrote: 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 can't say [strike]much[/strike] anything.
But... I think.... they have something in the pipeline.

Scrubelicious wrote: I can't say [strike]much[/strike] anything.
But... I think.... they have something in the pipeline.

As an amateur, I would say: they HAVE to!

In the 80ies, I noticed first-hand the (r)evolution of socalled Desktop-Publishing. Then came desktop-recording (e.g. Moby et al produce 'at home'). Now 'Desktop Movie Making' - ok, 99% is trash, but I see so many excellent done YT-videos! A Rebel t1 = 600€, a Mac + FCPX = 2k€, some light (rented) = for that price alone, 30y ago you had to invest into Kodaks.- :lol:

So, on the 'pro' end of the scale, those Dinosaurs like Arri HAVE to offer something... awesome-ish.

... (I once had the opportunity, to have a glimpse into Arris 'Boss' office': a shelf full of Oscars! ... ok, 'Tech Oscars', .. but lots of them!)

As for ARRI.
I do have a long time relationship with them. Not always the best.

ARRI US is a bit different from ARRI GER.
But both of them try to keep history and future together to make a "better future" possible.
The "good" thing about ARRI is that they do: Cameras, Edit, Post, Color Correction, Delivery – or whatever of that.
This gives them a quite good of feeling for a workflow or the options of workflows.

My 2 cents.

-Andreas

So what was the SliceX and TrackX news from NAB. I haven't seen anything about the new features online.

I don't think (I have no inside information at all) Core Melt got the bulk of the new features done in time for NAB Show. Look for a bigger update down the road soon. Some minor things for Slice/Track X. Copy/paste tracking info and some other minor things.