Jim and CO. take note...

[laguun]

Ummm... no.

hrrhrr, i had also to smile

Although the thought of Apple owning a company that releases a Windows-only product is sort of amusing.

Lucas
-----
ASSIMILATE, inc.
LA, CA, USA

Usually not for the endusers...

When apple discontinued logic on windows, many users migrated to steinberg/yamaha for nuendo/cubase.

Or when apple bought "nothing real" to port shake from windows/linux to osx and also discontinued the windows version, the products finally was discontinued on all platforms - very sad, shake had lots of potential.

When Apple bought Spruce Technologies they also stopped DVD Maestro on Windows (which later became one of the parents of DVD studio pro).

And Final Cut pro on windows also was, logically, not continued - however it was demonstrated when Final Cut pro still sailed as "Macromedia Key Grip" (i think it was on Truevision Cards back then) at the NAB before Apple bought it from macromedia... so apple has a pretty long history of buying windows/linux software manufacturers...

 

[Fredrik Harreschou]

... so apple has a pretty long history of buying windows/linux software manufacturers...

If you can't beat them, buy them

 

[John Tissavary]

Or when apple bought "nothing real" to port shake from windows/linux to osx and also discontinued the windows version, the products finally was discontinued on all platforms - very sad, shake had lots of potential.

Its stuff like this that makes it really tough for me to trust Apple with pro-apps.

Shake was, IMHO, the overall best compositing application for large pipeline feature vfx. I'd been using it since before it had a GUI, probably around the mid 1990's, when it was all script based. Apple did quite a disservice to the vfx industry when they killed it off. Hopefully Apple won't buy The Foundry / Nuke anytime soon...


Regards,

John T.

 

[Jason Sinclair]

Ummm... no.

Although the thought of Apple owning a company that releases a Windows-only product is sort of amusing.

Lucas
-----
ASSIMILATE, inc.
LA, CA, USA

That's what i though. Although Apple have been known to do some strange things...

I'm so glad i cleared that up... It would have haunted me a long time not knowing... lol

 

[Tom Lowe]

I've been around digital imaging & post for feature films and TV for quite some time and have never been involved in a project that has used the JPEG2000 codec as part of the pipeline. I guess the processing power needed to encode the files has to be part of the reason it's not been widely adopted in post. I've seen it as a deliverables spec, but not yet part of a working pipeline.

MJ2 (motion JPEG 2000) includes data lossless & visual lossless compression levels as part of its spec, XML metadata, 10-16bit component color, 4:2:2 and 4:4:4 color sampling. So it's got some nice ingredients, for sure. Who knows, maybe there's a compelling reason to use it once computing power makes compression trivial.

Personally, I've only used Cineform and Prores, and of the two I prefer Cineform by a mile - it's much more robust, and it's cross-platform. I haven't done any side-by-side testing between Cineform and MJ2, but I have put Cineform through its paces and it's quite amazing considering how well it compresses RGB, and how incredibly well it holds up to color moves and repeated re-compression.

Normally I like using single image file formats like openEXR, DPX, etc..., but because of my experiences with Cineform I wouldn't hesitate to use it on more projects.

jt

What intermediate codecs are used beside cineform and prores? I have Aspect HD and will probably upgrade to Prospect soon, but I am curious about what most pros use in their timelines.

Getty asked that I send my stock clips to them at Photo JPEG 95%, so I guess that is a popular format.

 

[Obin Olson]

I think un compressed is the way "big pro houses" work....but I could be wrong. I am a cineform user. at the moment anyway. it's pretty good for what it is.