Return-Path: Received: from Eatspam.slcc.edu ([144.35.15.69] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 4746871 for AE-List@media-motion.tv; Thu, 14 Jun 2012 17:33:14 +0200 X-ASG-Debug-ID: 1339688155-043a5410671627b0001-edO5QZ Received: from vCAS1.slcc.int ([10.1.11.52]) by Eatspam.slcc.edu with ESMTP id bJ2NeMK0xJfWJ0Hs for ; Thu, 14 Jun 2012 09:35:55 -0600 (MDT) X-Barracuda-Envelope-From: John.Morgan@slcc.edu Received: from EXCH.slcc.int ([127.0.0.1]) by vCAS1.slcc.int ([fe80::5023:faf7:26da:d5bf%11]) with mapi; Thu, 14 Jun 2012 09:35:55 -0600 From: John Morgan To: After Effects Mail List Date: Thu, 14 Jun 2012 09:35:54 -0600 Subject: RE: [AE] [OT] musings on the future of Mac "Pro" Thread-Topic: [AE] [OT] musings on the future of Mac "Pro" X-ASG-Orig-Subj: RE: [AE] [OT] musings on the future of Mac "Pro" Thread-Index: Ac1JwLXNBCVZbLvWSJ6Q8CQBqxpOpwAgajuA Message-ID: References: In-Reply-To: Accept-Language: en-US Content-Language: en-US X-MS-Has-Attach: X-MS-TNEF-Correlator: acceptlanguage: en-US Content-Type: multipart/alternative; boundary="_000_EAE675A223415848A14AA69EBCDE9D0A6498746560EXCHslccint_" MIME-Version: 1.0 X-Barracuda-Connect: UNKNOWN[10.1.11.52] X-Barracuda-Start-Time: 1339688155 X-Barracuda-URL: http://144.35.35.69:8000/cgi-mod/mark.cgi X-Virus-Scanned: by bsmtpd at slcc.edu X-Barracuda-Spam-Score: 0.00 X-Barracuda-Spam-Status: No, SCORE=0.00 using global scores of TAG_LEVEL=1000.0 QUARANTINE_LEVEL=1000.0 KILL_LEVEL=6.0 tests=HTML_MESSAGE X-Barracuda-Spam-Report: Code version 3.2, rules version 3.2.2.99835 Rule breakdown below pts rule name description ---- ---------------------- -------------------------------------------------- 0.00 HTML_MESSAGE BODY: HTML included in message --_000_EAE675A223415848A14AA69EBCDE9D0A6498746560EXCHslccint_ Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I'm "un-pro" enough that I got an F3 just for low noise capability. : ) N= ot for the S-log 4:4:4 stuff. I use it as my Glidecam camera. Since I'm ent= irely in the web video/presentation from projector world I like the fast/ch= eap method of pulling native .mp4 files direct from the SxS cards. Compared= to how P2 cards work, I really like the USB port right on the SxS card its= elf. 30% faster than pulling from the F3's USB port. Plenty of respect for those who do real cinema or complex 3D work with the = high-end tools! John From: After Effects Mail List [mailto:AE-List@media-motion.tv] On Behalf Of= Jack Tunnicliffe Sent: Wednesday, June 13, 2012 6:00 PM To: After Effects Mail List Subject: Re: [AE] [OT] musings on the future of Mac "Pro" Working on a movie right now shot Epic 5K. Many shots are repositioned and = zoomed up as much as 200%. You can't do this with something that's 1920x108= 0 in the first place. You can zoom in a little but now 200% to make a singl= e out of a wide shot. Most effect plates are pulled in log at 2K and often larger for complex 3D= work such as green screen keys, set extensions, etc. RedLogFilm exports as= log through RedCine-X or Davinci or AE. The option just doesn't exist when= you haven't shot with a large format raw camera. I love the Sony F3 camera= s, large pixels, low noise but when are they going to allow us to get at th= e large image? Sony keeps telling me its just a firmware upgrade away. Mayb= e. Jack Tunnicliffe Java Post Production www.javapost.ca On Jun 13, 2012, at 12:58 PM, John Morgan wrote: Playing off your mention of Arri RAW and Red, it strikes me that some in th= is industry have gravitated to Arri and Red for the express purpose of bein= g able to call themselves "Pro". IMO, if they're not shooting for cinema-s= ized outputs, what's the point of all that resolution? I've always chuckled= at some in that crowd, anxious to call themselves indie film makers, who d= on't have the infrastructure, storage space or means to edit and handle 2k-= 4k material. This message, and any attachments, is intended only for the use of the addr= essee and may contain information that is privileged and confidential or ot= herwise exempt from disclosure under applicable law. If the reader of this= e-mail is not the intended recipient, you are hereby notified that any una= uthorized use, dissemination, distribution or reproduction of this message = is prohibited. If you have received this communication in error, please no= tify the sender by return e-mail and delete this e-mail and any attachments= from your system.= --_000_EAE675A223415848A14AA69EBCDE9D0A6498746560EXCHslccint_ Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

I’m= “un-pro” enough that I got an F3 just for low noise capability= .  : )  Not for the S-log 4:4:4 stuff. I use it as my Glidecam ca= mera. Since I’m entirely in the web video/presentation from projector= world I like the fast/cheap method of pulling native .mp4 files direct fro= m the SxS cards. Compared to how P2 cards work, I really like the USB port = right on the SxS card itself. 30% faster than pulling from the F3’s U= SB port.

 =

Plenty of respect for those who do r= eal cinema or complex 3D work with the high-end tools!

 

John

 =

From: After Effects Mail= List [mailto:AE-List@media-motion.tv] On Behalf Of Jack Tunnicliffe=
Sent: Wednesday, June 13, 2012 6:00 PM
To: After Effec= ts Mail List
Subject: Re: [AE] [OT] musings on the future of Mac = "Pro"

=  

Working on a movie right now shot Epic= 5K. Many shots are repositioned and zoomed up as much as 200%. You can't d= o this with something that's 1920x1080 in the first place. You can zoom in = a little but now 200% to make a single out of a wide shot. =

 

Most effect plates are pulled in log at 2K and often larger  f= or complex 3D work such as green screen keys, set extensions, etc. RedLogFi= lm exports as log through RedCine-X or Davinci or AE. The option just doesn= 't exist when you haven't shot with a large format raw camera. I love the S= ony F3 cameras, large pixels, low noise but when are they going to allow us= to get at the large image? Sony keeps telling me its just a firmware upgra= de away. Maybe. 


Jack Tunnicliffe

Java Post Production

www.javapost.ca<= /p>

 

 

 = ;

On Jun 13, 2012, at 12:58 PM, Joh= n Morgan wrote:



Playing off= your mention of Arri RAW and Red, it strikes me that some in this industry= have gravitated to Arri and Red for the express purpose of being able to c= all themselves “Pro”.  IMO, if they’re not shooting = for cinema-sized outputs, what’s the point of all that resolution? I&= #8217;ve always chuckled at some in that crowd, anxious to call themselves = indie film makers, who don’t have the infrastructure, storage space o= r means to edit and handle 2k-4k material. 

 


This mess= age, and any attachments, is intended only for the use of the addressee and= may contain information that is privileged and confidential or otherwise e= xempt from disclosure under applicable law. If the reader of this e-mail i= s not the intended recipient, you are hereby notified that any unauthorized= use, dissemination, distribution or reproduction of this message is prohib= ited. If you have received this communication in error, please notify the = sender by return e-mail and delete this e-mail and any attachments from you= r system.  ­­  = --_000_EAE675A223415848A14AA69EBCDE9D0A6498746560EXCHslccint_--