rumorama – adobe moving to 64bit (?)

Hot off the FCP-L presses, Terrence Curren of AlphaDogs in Burbank, CA posts:

Steve Hullfish and I just spent a couple days under NDA at Adobe. Obviously
there is a lot I can’t say. But we are allowed to comment on anything that
has been posted publicly. So let me say to the 5 of you using Premiere out
there… you are going to be very happy. We saw the mercury stuff that has
been mentioned and it is very impressive.

Important note to Adobe product users!!!!! Don’t buy any 32 bit hardware or
system software if you plan on upgrading to the next version whenever it
ships! And check the site for graphics cards before you make those purchases
also.

click for adobe moving to 64bit system advice

proactively • reposting • peter

Disclosure, to comply with the FTC’s new rules

None of the manufacturers listed above are paying Peter Salvia to write this article and, so far, none have sent him any samples or demonstration items.

FinalCutters rig of the day!

yours truly

For posterity, a quick screen grab of me being featured on FinalCutters.com as the rig of the day.  This was 3 (?) years ago when we were first building out Tavel Channel’s Short Form Production department in a broom closet at Discovery Headquarters.  Oh, the memories…

Also note the linkage to my panavision genesis fcp workflow post.  I’ve found FinalCutters to be a great resource for, well, good FCP bloggery.  Take a visit over there and definitely check out Oliver Peters’ The Final Cut Studio centric facility.  Not linking to it here silly, go to FinalCutters and then click through.

proactively  • peter

blog bomb – ted with red scarlet at ces

“So you’ve got a movie-making machine that’s really shooting RAW.“

scarlet prototype

working red bomb evf viewfinder

Click on either of the above picks to go to the Engadget video interview (if you haven’t drooled over it already). I dig Ted’s argument that the DSLR video cameras are essentially shooting high quality web video (h.264) but that his Scarlet camera is shooting the digital equivalent of film with its proprietary REDCODE RAW format.  From Wikipedia, Redcode RAW is a variable bit rate wavelet codec which allows raw sensor data at resolutions of up to 4096 x 2304 to be compressed sufficiently for practical on-camera recording.

“A full shooting package [with a 2.8 inch lcd] for $4750” should put Mr. Schilowitz and company in prime position to sell a lot of these babies.

proactively • punned, err stunned, err… • peter

Disclosure, to comply with the FTC’s new rules

None of the manufacturers listed above are paying Peter Salvia to write this article and, so far, none have sent him any samples or demonstration items.  And he sure as hell wouldn’t turn them down if they wanted to send him a Scarlet to play with.

panavision genesis fcp workflow

Jay Mahavier, assistant editor on such films as Sin City, Grindhouse, and Planet Terror posts to the FCP-L:

I’m guessing from what you have written that they are going to use the Panavision SSR bricks to record to and then use the Panavision Transfer Station to make the footage on the drive.

If this is true then a few things.

The files from the Transfer Station will be made with a Kona3 card.

So they could be ProRes or full res 1080/10bit/4:4:4/Log/RGB. But your FCP system should have Kona3 card to work with it.

And also, when doing the data dump from the brick have them make a SR tape at the same time. TC should match between the QT files and the tape.  And find out if they plan on giving you raw log footage or if they are going to be applying a lut during the dump. It would be best if you could get both, or this

SR tape – 444 Log RGB no LUT
QT – 444 Log RGB no LUT
QT – ProRes with LUT

That way you can use the ProRes stuff to do the cut and when you are ready to on-line you have clean raw files to work from. The tape is a back up.

There you have it, straight from a war horse’s mouth.  FotoKem has a nice Genesis workflow page also.  So, what does the footage from a Genesis look like?  Check out Writer / Director Richard Kelly’s The Box starring Cameron Diaz, James Marsden and Frank Langella.

Ain’tItCoolNews has a good interview with the director.  The story is based on a Richard Matheson short story called Button, Button.  Matheson is one of my favorite pulp authors so I’ll be sure to put this one in my Netflix Blu-Ray queue.  Thanks for the workflow advice Mr. Mahavier!

proactively • reporting • peter

Disclosure, to comply with the FTC’s new rules

None of the manufacturers listed above are paying Peter Salvia to write this article and, so far, none have sent him any samples or demonstration items.