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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 :)

Info on Final Cut Studio 3

Real-time, hardware-accurate waveform monitor and vectorscopes - interesting, looking forward to see what this means.

At least on paper, it looks like Color has much tighter integration with FCP. Can deal with still frames, speed changes, etc. This will be huge if it works well. I think that is what has been missing from the FCP>Color workflows. They need to be interchanged easily.
 
My partner in Cyprus, Panicos, has playing all day today with it...

It plays real time r3d's at 1080 25p to HDSDI out!!!!

Its extremely fast in Color... the words he used on Skype this morning was "it is flying"...

He is using the second generation MacPro with ATI1900...

Huge news...

It remains to be seeing how it works with the timeline...

The first impression was that is doing everything....!!!

Panico c'mon don't be shy, say more things...
 
Evangelos Achillopoulos said:
He is using the second generation MacPro with ATI1900...

Huge news...

Panico c'mon don't be shy, say more things...
Click to expand...

Amazing!!!!!!!!

Thanks Evangelos for those great news and also credits for Panicos your partner.

Panicos, tell us more please!!!!!!!!
 
If you look closely at the Color + RED Raw video, you can see that they're using REDCode Plugin V2.9 Beta. Be interesting to see what the changes are. New color science?
 
Shawn Nelson said:
Hmmm, so will RED Rocket™ support Color at 4k?

I was extremely impressed to see that Leverage does ALL of their grading on Color.
Click to expand...

Of course it doesnt hurt that they have a $150K SAN installation/implementation. (plus the salary of a full-time support person)

hardly a home studio set up, but it is encouraging.
 
Rainer Fritz said:
new final cut and no 10 bit RGB in ?
Click to expand...

I'm hoping that ProRes4444 is 10 bit RGB, so if it can't process that and maintain 10 bit it would be pretty unimpressive. Of course that doesn't necessarily mean it will work with other codecs such as Blackmagic or AJA RGB.
 
I hope it works as RGB space instead of faking it within YUV for the new FCS.
 
Apple???

Apple???

Thank you Apple for everything you have been doing.

But, wouldn't it be reasonable for someone from apple to pop up and clarify all these issues?
Apple you might find on this forum the best advocates of your pro applications, we are in the front also for you, just give us some slack. Please.

Thank you anyway.
 
Ido Karilla said:
Thank you Apple for everything you have been doing.

But, wouldn't it be reasonable for someone from apple to pop up and clarify all these issues?
Apple you might find on this forum the best advocates of your pro applications, we are in the front also for you, just give us some slack. Please.

Thank you anyway.
Click to expand...

I'd say that would never happen, unfortunately.
 
Nick Shaw said:
I'm hoping that ProRes4444 is 10 bit RGB, so if it can't process that and maintain 10 bit it would be pretty unimpressive. Of course that doesn't necessarily mean it will work with other codecs such as Blackmagic or AJA RGB.
Click to expand...

ProRes is 10-bit, compressed 10-bit. What I would like to see is faster applications so we can use the RGB 4:4:4:4 codecs already available, true uncompressed 10-bit with 4:4:4 color space, with out dropped frames. My hope is with a rewritten 64-bit application and better GFX cards this will be a reality. Compressed ProRes does nothing for me... it's noisy.
 
ProRes

ProRes

Brandon,
Many edit suites cannot use uncompressed files, which are huge in size and request a specific infrastructure. I am sure you know this.
For many years in the past, I worked on uncompressed images, always in multi $$$$$ high-end workstations, like Flame or Inferno.
ProRes HQ allows my small independent company to work in HD or 2K, in near uncompressed quality.
We have been getting great results.
I would really like to know, how ProRes does not help your workflow.
Are you getting noisy results in all uncompressed/ProresHQ comparisons?
 
Brandon Kraemer said:
ProRes is 10-bit, compressed 10-bit. What I would like to see is faster applications so we can use the RGB 4:4:4:4 codecs already available, true uncompressed 10-bit with 4:4:4 color space, with out dropped frames. My hope is with a rewritten 64-bit application and better GFX cards this will be a reality. Compressed ProRes does nothing for me... it's noisy.
Click to expand...

Apple ProRes White Paper said:
Apple ProRes 4444: The new Apple ProRes 4444 codec preserves motion image sequences originating in either 4:4:4 RGB or 4:4:4 Y’CBCR color spaces. At its remarkably low data rate as compared to uncompressed 4:4:4 HD, Apple ProRes 4444 supports 12-bit pixel depth with an optional, mathematically lossless alpha channel for true 4:4:4:4 support. Apple ProRes 4444 preserves visual quality at the same high level as does Apple ProRes 422 (HQ), but for 4:4:4 image sources, which can carry the highest possible color detail.

Apple ProRes 4444 is ideal for next-generation video and the most pristine computer graphics sources for cinema-quality compositing. For projects that previously required the Animation codec, Apple ProRes 4444 is a modern replacement with real-time playback support in Final Cut Pro. Because color detail is preserved, Apple ProRes 4444 is ideal for color grading with 4:4:4 image sources.
Click to expand...

Link to new Apple ProRes White Paper: http://images.apple.com/finalcutstudio/docs/Apple_ProRes_White_Paper_July_2009.pdf
 
Snow Ron Shai said:
Brandon,
Many edit suites cannot use uncompressed files, which are huge in size and request a specific infrastructure. I am sure you know this.
For many years in the past, I worked on uncompressed images, always in multi $$$$$ high-end workstations, like Flame or Inferno.
ProRes HQ allows my small independent company to work in HD or 2K, in near uncompressed quality.
We have been getting great results.
I would really like to know, how ProRes does not help your workflow.
Are you getting noisy results in all uncompressed/ProresHQ comparisons?
Click to expand...

Yea, Im aware of the hardware requirements, which is why I am more enthused about faster GPU's, CPU's and RAM over new proprietary compression schemes. I have run uncompressed RGB 4:4:4 systems, and yea I do see (mostly on scopes) the noise that is associated with ProRes files. I wouln't consider introducting that kind of media into a post-pipeline except for proxy work. That being said, I haven't worked with the new 4:4:4 Pro Res media, or FCP 7.0 as of today. I'm not likely going to shift away from uncompressed files though.
 
Un/Compressed

Un/Compressed

Hi Brandon,
From one point of view, i do wish i could continue working with uncompressed images.
On the other hand, i like the fact that working with ProRes gives me those smaller than usual files... and they look great.
Compression schemes does wonders. Red Code comes to mind... and looks great.
As long as that noise is on the scopes only, i can live with that.
I believe the ProRes 4x4 will have better quality when coming from 4:4:4 sources.
Good thing we have these various workflows to work with.
 
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