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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Is it possible to cut proxies on an intel based imac?

Michael Totten

Michael Totten

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I'd like to know the minimum specs for cutting proxy files.
I've got a client who is open to using the RED as long as they can use their iMac (I know) :001_huh:. The footage will be living on a FW800/400 drive.

thanks in advanced .
Michael
 
The director of the last short I shot is cutting the m proxies on his 2 year old plastic MacBook. No problems. Faster is better but yes the iMac will work fine.
 
THis makes ton of assumptions?

Is the footage on a FW drive? I'd be running some tests before cutting this way with a client. You'd also have to be in unlimited RT mode with variable frame rate.

David
 
David Battistella said:
THis makes ton of assumptions?

Is the footage on a FW drive? I'd be running some tests before cutting this way with a client. You'd also have to be in unlimited RT mode with variable frame rate.

David
Click to expand...

Yeah it's not happening. They would've tested the workflow prior... but really I would've just talked them into getting ahold of a proper system.
thanks.
 
It all depends on your workflow.

If the cuts are for cuts only and the person cutting is happy with not grading and doing finnishing actions, the proxies are great. And can work on almost any comp with any FW disk.

I think they're one of the best things with the RED workflow...

But it takes some getting used to, and definitely is not for all uses...

But an iMac is not the biggest hassle.
Accepting the advantages and limitations are...

For a larger organisation, creating dedicated proxies is almost always better.
For a one man band, you hardly can find a less time-consuming and more effective workflow.
Add the "send to colorr" directly from the cam-proxies (+ colorfixer, if needed...) , and it is hard to see why not, on a low budget...

There are definite arguments against this workflow, but for smaller organisations with less experience, I cannot really see them being too convincing, given FCS3 (In fcs 2 I would go through a DPX-log thingy for online and shun the RAW workflow in Color totally. It simply doesn't work...)

But the proxies as offlines... If you get used to them, they're addictive
 
I've been recommending proxies for offlining for a long time, but I've abandoned them recently. We ran into rendering problems even after using Colorfixer with proxies, which were gone after replacing them with rendered ProRes.

But then, this was FCS3…
 
Noah Kadner seems to think the same, he knows Colorfixer but nevertheless discourages the use of proxies in his book.
 
Uli Plank said:
I've been recommending proxies for offlining for a long time, but I've abandoned them recently. We ran into rendering problems even after using Colorfixer with proxies, which were gone after replacing them with rendered ProRes.

But then, this was FCS3…
Click to expand...

Hm...

Rendering problems?

In Color?

Could you elaborate a bit.

Did some tests on a project yesterday on a project cut from prores proxies, conformed with Clipfinder to H-proxies, sent to color, colorfixed and graded. Mix of long (full song) and short takes. (this was a musicvideo)

Didn't notice any problems with rendering in Color.

Are you saying that Color works better if you conform with cinematools?
Would sort'a make sense...

G
 
We had a project recently where Color would not finish rendering when it was fed from proxies. We had used Colorfixer on the XML.
When we processed them to offline ProRes and got our XML from there into Color with Clipfinder, all went smooth. The project was only 8 minutes, but tons of clips…
 
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