Content-Type: text/plain; charset=us-ascii
Mime-Version: 1.0 (Apple Message framework v1257)
Subject: Re: [AE] Love You Adobe
From: Eric James Wood <list@helium14.com>
In-Reply-To: <list-4620664@media-motion.tv>
Date: Wed, 8 Feb 2012 14:52:15 -0800
Content-Transfer-Encoding: quoted-printable
Message-Id: <72E1BA52-F864-479C-A26D-F5F6FEDA93F9@helium14.com>
References: <list-4620664@media-motion.tv>
To: "After Effects Mail List" <AE-List@media-motion.tv>

you scribbled:

> Thanks James.
> So just to clarify what I thought I saw during the FCPX rollout, one =
of the "selling points" in the demo that I watched was that "now all =
this rendering can occur in the background during low-use CPU cycles."  =
If that means a background encode/render to a ProRes or other proxy is =
going on in the background, then that is still not "working with files =
natively" in my book. Premiere has no background render processes that =
occur automatically unless the user starts a render process for =
exporting. In Pr, with a system like mine, no rendering ever needs to =
occur in the background. All native files stay native and do not change =
during the edit.

It is a preference if you would like to transcode to proRes to work =
faster, etc in the timeline. I have premiere running on an approved cuda =
card, and trust me, there is rendering going on still, but on the card. =
Yes the card is fast, but it still has to render stuff.

I think your mixing up rendering with transcoding. When i output my =
timeline that has native dslr footage, with AE comps in there, and color =
correction in PPro, it takes time to get a final file out. It is not a =
couple of seconds.

I went thru this with adobe last year, take some prores clips and throw =
it into a PPro timeline and export to the same codec as your source. It =
takes time. Ppro deals with all codecs as cracking them open and getting =
to the data inside, that is why it works with everything under the sun =
really well.

Now take a proRes clip in fcp 7 or X and do the same thing, it will =
export a file wicked fast to the same codec as the source since it is =
just a file copy.

Ppro DOES NOT do a simple file copy, but actually deals with the data =
differently.

Now doing it in fcp is a two step process in the real world, you export =
a DI in ProRes then have to make a h.264 for web delivery, where in =
PPro, i just go straight to the h.264 file since it takes so long to =
make the proRes file, then make the h.264 file.

It is two different ways of working is all. My hangup is that if you =
make a 1hr movie, with lots of edits, effects, titles, AE comps, etc. =
Normally i would export a DI master, then use that to strike any =
delivery format i would need.

PPro i tend to export the timeline more times than exporting a DI =
master.
--=20
<ericwood>
    Helium14 | www.helium14.com
    Design | Motion + Graphic
    www.helium14.com

'the next best thing to knowing something, is knowing where to find it'