tag:blogger.com,1999:blog-208143032024-03-05T17:17:16.980+05:30Neil Sadwelkar's musings on Digitaldigital post-production, digital video, digital audio, digital intermediates, digital anything.
Neil Sadwelkar's "vishesh tippani"
If you've come here via a link or Google search, then click anywhere on the title above to go to my blog main pageNeil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.comBlogger175125tag:blogger.com,1999:blog-20814303.post-52717570497062034012020-02-13T20:35:00.000+05:302020-02-13T20:35:16.749+05:30macOS 10.15 Catalina support for Avid MC and Premiere Pro<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">If you're planning on getting a new MacBook Pro 16", or any Mac that's pre-loaded with macOS 10.15 Catalina, and plan on editing with Avid Media Composer, here are the limitations of running Avid Media Composer 2020.2 (beta).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Bear in mind that Avid ver 2019.12 or previous versions (like 2018.x versions or even older 8.x.x versions) will not not even install (or launch) in macOS 10.15 Catalina.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Also, note that if your Mac originally had an earlier macOS (like macOS 10.14 Mojav<span class="text_exposed_show" style="display: inline;">e or macOS 10.13 High Sierra or earlier) and you've upgraded to macOS 10.15 Catalina, then you will be able to 'down-grade' your Mac from macOS 10.15 to macOS 10.14 or earlier.</span></span></div>
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But the MacBook Pro 16" will simply not let you down-grade.</div>
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It might be a good idea to get the older MacBook Pro 15" while stocks are still available.</div>
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<span style="color: #1d2129;"><span style="caret-color: rgb(29, 33, 41); font-size: 14px;"><a href="http://avid.force.com/pkb/articles/en_US/compatibility/Media-Composer-File-Type-Support-on-macOS-Catalina" target="_blank">Media Composer File Type Limitations on macOS Catalina</a></span></span></div>
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Avid recommends <a href="http://www.shutterencoder.com/en/" target="_blank">Shutter Encoder</a> to convert incompatible types of files to Avid NDxHD OP-Atom for use inside Media Composer running on macOS 10.15 Catalina</div>
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Or, you can use Apple Compressor or Adobe Media Encoder both of which can create MXF OP-Atom files for use in Avid Media Composer.</div>
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And <span style="background-color: white;">this is Adobe's note on</span><span style="background-color: white;"> </span></div>
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<span style="background-color: white; caret-color: rgb(29, 33, 41); color: #1d2129; font-size: 14px;"><a href="https://helpx.adobe.com/x-productkb/multi/video-applications-macos-catalina-compatibility.html" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Adobe video and audio applications and Catalina | macOS 10.15</span></a></span></div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-73139526593101966182018-11-28T15:42:00.000+05:302018-11-28T15:42:08.574+05:30Fixing Sony DSLR and other cameras repeating file names<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">Sony A7 and other cameras create MTS or MP4 clips called C001, C002, C003…. And these names repeat every time the card is formatted. So, in a long project one has multiple clips called C001, multiple clips called C002 and so on. And what makes it worse is that these clips also have repeating timecode.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If the project is finished on the editing system then this is less of a problem. But if the project has to be taken to another system for colour correction or effects work, then relinking the AAF or XML or EDL to the original files is a huge problem. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">One way around this, while shooting, is to not format the card in the camera. Instead, in the camera, delete all clips except the last one. The camera will now begin recording from the next number and not go back to C001. So, if the last clip on a card is C028, then you delete C001 to C027 in the camera and start shooting. The camera will automatically shoot clips from C029 onwards. And so on.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But if that’s always possible. In that case, the only way to prevent conflicts is to rename the original Sony files BEFORE beginning the edit. What I do is to highlight the MP4 clips, (on a Mac) right-click on them, and select ‘Rename … items’. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The folder containing the clips often have other files. The best way to highlight only mp4 files in that folder (on a Mac) is to see the folder in list view, and then click on the 'Kind' column. So that MP4 files get grouped together. You can now highlight just the MP4 files.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Once you highlight the MP4 files in one folder, right-click them and select 'Rename 62 items...' (where 62 is the number of files you've highlighted)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Then in the window that opens, choose to add text before clip name as date. So you type in the box 20180224 - for clips shot on 24 Feb 2018 (for example).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Now your clips will look like this</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">20180224-C001.mp4
20180224-C002.mp4
20180224-C003.mp4
20180224-C004.mp4</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Clips from the next day will be like this
20180225-C001.mp4
20180225-C002.mp4
20180225-C003.mp4
20180225-C004.mp4
And so on.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Date is set for year-month-day so that they all get sorted neatly by date. If you set it as date-month-year then it goes crazy when sorted.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For example, if you have clips shot on 24 Feb, 28 Mar, 16 Aug, 02 Oct, and you name them as date-month-year, as 24022018, 28032018, 16082018, 02102018, then, on the disk they will appear like this.
02102018
16082018
24022018
28032018
So the order will end up being Oct, Aug, Feb, Mar.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Which is why, you name them as year-month-day, so then your clips will get named 20180224
20180328
20180816
20181002</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And in the finder they will appear in the right chronological order as.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">20180224
20180328
20180816
20181002</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Feb, Mar, Aug, Oct. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If you have multiple cameras shooting simultaneously, then you will end up with multiple clips called
20180224-C001.mp4
20180224-C002.mp4
20180224-C003.mp4
all on the same day.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In this case, you can also add the camera letter or name. So you rename the clips in two steps. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">First, rename C001, C002, C003 etc with the date prefixed and then highlight them and add a letter before the name. So, you will get clips called
A-20180224-C001.mp4
A-20180224-C002.mp4
A-20180224-C003.mp4
A-20180224-C004.mp4</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">for all A camera clips, and
B-20180224-C001.mp4
B-20180224-C002.mp4
B-20180224-C003.mp4
B-20180224-C004.mp4
for all B camera clips, and so on for the other cameras.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Further, if there are multiple cards on the same day, you may want to add card numbers to the camera letters.
So, for all A camera clips on the 24 Feb 2018 from the first card, you rename them as
A01-20180224-C001.mp4
A01-20180224-C002.mp4
A01-20180224-C003.mp4
A01-20180224-C004.mp4</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And for all A camera clips on the 24 Feb 2018 from the second card, you rename them as</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A02-20180224-C001.mp4
A02-20180224-C002.mp4
A02-20180224-C003.mp4
A02-20180224-C004.mp4
and so on.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The basic idea is to ensure that within a project no two clips have the same name. In this method, it does not matter if timecode is repeated, because whatever you do, every 24 hours of time, timecode is repeated anyway. A timecode repeat along with a file name repeat is disaster when an edit needs to be moved from one system to another.
</span></div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-45355327853602951382018-07-13T20:33:00.000+05:302018-07-13T20:33:03.716+05:30Fixing an exFAT drive on a Mac<div dir="ltr" style="text-align: left;" trbidi="on">
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I have tested this with macOS 10.13.6 on a MacPro cylinder</div>
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On a LaCie Quadra 4TB drive which was exFAT and was not mounting on the Mac, but appeared in Disk Utility. First Aid in Disk Utility could not repair this drive.</div>
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Quoting from various resources on the net...</div>
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<a href="https://discussions.apple.com/message/19492059#19492059">https://discussions.apple.com/message/19492059#19492059</a></div>
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Looked like crazy on the net for solutions but couldn't find any. I started to poke around in the terminal and ran this:</div>
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fsck_exfat -d disk0s4</div>
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The -d flag is the debug flag and it gave me hope. I saw all my files flashing by and after a while I got this question:</div>
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Main boot region needs to be updated. Yes/No?</div>
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I picked yes and it said that it repaired the drive. It didn't appear on the desktop though. I ran fsck_exfat again and now it said that the disk was ok. I fired up Disk utility and tried to repair the drive there once again and now disk utility could repair it! =))) </div>
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Just wanted to share this lil advice since it seems common that exfat partions gets corrupted in OSX. I have no idea why Disk Utility doesn't call fsck and instead says that the disk can't be repaired. The tools for repairing it is in the OS and apparently and obviosusly it was fixable (...in my case).</div>
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<a href="https://craigsmith.id.au/2014/07/06/repairing-a-corrupted-mac-osx-exfat-partition/">https://craigsmith.id.au/2014/07/06/repairing-a-corrupted-mac-osx-exfat-partition/</a></div>
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sudo fsck_exfat -d disk0s4</div>
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where diskos4 is your ExFAT partition.</div>
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It then asks:</div>
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Main boot region needs to be updated. Yes/No?</div>
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to which you reply Yes. You can then run repair in the OSX Disk Utility and the partition should be restored!</div>
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From comments at the bottom of the article</div>
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Another tip I discovered:</div>
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When you run fsck_exfat on your drive and it comes up “Resource Busy” you can use the following commands:</div>
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This will give you a list of processes using your disk:</div>
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ps -ax | grep disk2 (but your disk)</div>
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You will get something like this:</div>
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13699 ?? 11:52.83 /System/Library/Filesystems/hfs.fs/Contents/Resources/./fsck_hfs -y /dev/disk2s2</div>
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Run this to kill that process</div>
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sudo kill 13699</div>
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Repeat until it lets you fsck_exfat your drive </div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-48019481209951859342018-06-08T18:15:00.001+05:302018-06-08T18:15:58.733+05:30Back after a long time<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Its been a while since I have posted here. In fact, its almost 2 years.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These have been busy 2 years, with lots of travel, new projects, and other distractions. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I started this blog to post musings which were to be studied writings, not instant posts like Twitter and Facebook posts. So, its not as if I've been away from the action, just that I make smaller posts on my Facebook page. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Please visit my Facebook page, read up new and old posts, and feel free to ask something. I answer more quickly there. If you like it, please join so you get updates as I post them. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Link here.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">'<a href="https://www.facebook.com/groups/digitaldada" target="_blank">Neil Sadwelkar's Tech Corner</a>'.</span><br />
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-11575420835665212372016-11-02T00:55:00.000+05:302016-11-02T00:55:22.938+05:30In defence of the new (late 2016) MacBook Pro<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On the 27th Oct 2016, at a small event, Apple showed their new upgraded MacBook Pros. Referred to as the late-2016 MacBook Pro. At the event, Apple showed only MacBook Pros, and there was no word on new MacPros, iMacs, or Mac minis. Not even a mention. And, over the next few days, there was an uproar of critical blog posts and articles slamming Apple. Particularly coming as it did, just a day after Microsoft announced their Surface Studio and Surface Book i7.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I read many of these criticisms in the past few days. I studied the spec of the new MacBook Pros. Particularly in comparison to the MacBooks I own or regularly use. A MacBook Air 11” (2014), MacBook Air 13” (2014), MacBook Pro retina 13” (2015), and two MacBook Pros retina 15” (2014, 2015). I regularly use the MacBook Pro 13” and 15” in real world pro use cases. and, I have to say, I’m not dismayed with the new MacBook Pro. At least until I actually use the new MacBook Pro for exactly the same situations that I’m currently using. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">And, for reasons that I’ll elaborate, these new laptops from Apple, won’t make me go looking to switch to a Windows laptop. The Microsoft Surface Book i7, the Dell XPS or Precision, Alienware, Razer and other models being considered, all fall short on one account or the other. For me at least. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><i>CPU and RAM</i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The CPU in this new MacBook Pro is the Intel Skylake i7, considered to deliver better performance than the existing Haswell CPUs while consuming less power, so less heat too. RAM is still 16 GB max. The reason is that Intel simply don’t have a CPU which provides better performance for equivalent power draw. So, if the CPU was any better, it would mean battery performance in the 2-3 hr range, which with a heavy duty app like Premiere Pro/Avid/Resolve may drop down to an hour or under. That wouldn’t work for my use. So also for the RAM. There’s no RAM above 16 GB which draws the same power as the existing one.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">My existing MacBook Pros have 2 Thunderbolt2 ports, 2 USB3 ports, one MagSafe power port, and an HDMI - six ports. For Firewire and GigE use converters, but rarely.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For my current use these six ports let me connect, a professional Codex transfer station, a Thunderbolt RAID, to transfer 500 GB raw camera data in under 30 mins twice over. USB3 can’t match that. Also, with Thunderbolt I can connect a Blackmagic or Aja video card to capture or playback HD video even 4k. Can’t do that over USB. USB RAIDs are much slower than Thunderbolt RAIDs that professionals simply have to use, especially for 4k video. The HDMI port lets me connect an external monitor. If I need more USB devices - like a keyboard or mouse, I use a USB hub anyway.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">There are criticisms for the ‘just’ 4 Thunderbolt3 ports and no HDMI/GigE/USB3. But I can get all of those with cheap converters. Besides, the Thunderbolt3 in my use case would be connected to a monitor, or a Thunderbolt RAID, both of which will also charge my MacBook Pro, so I really won’t miss the dedicated power port. I’ll even have one less cable.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SD card is absent in the new MacBook Pro. But I seldom use it anyway. I have USB3 card readers which are fast enough and support CF and CFast cards, which I use more often than SD cards.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In my current MacBook Pro, one Thunderbolt goes to a Codex transfer station, the second to a RAID, and then daisy chained to a Thunderbolt2-PCIe adapter running a SAS card connected to an LTO tape drive. And the two USB3 ports go, one to a card reader, and the second to another portable drive. The HDMI port may be connected to a larger monitor. And the MagSafe to power.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So, for me, with the 4 Thunderbolt3 ports in the new MacBook Pro, one Thunderbolt3 would go (via a TB3-TB2 adapter) to a Codex transfer station, the second to a RAID (which would also charge my MBP), and then daisy chained to a Thunderbolt2-PCIe adapter running a SAS card connected to an LTO tape drive. The third Thunderbolt3 port would go to a card reader (via a TB3-USB-A adapter), and the fourth to another portable drive. If I need HDMI, I could daisy chain that from any of the existing TB3 or TB2 ports on my drives of PCIe expander. I could also use the OWC or Akitio Thunderbolt dock.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Besides, with Thunderbolt3 cum USB-C ports, I can connect anything to any port. At the moment I need to connect thunderbolt to Thunderbolt and USB to USB. Now they are the same port. And they connect any way around. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">As fas as I can tell, the new MacBook Pro will be the only laptop with 4 Thunderbolt cum USB-C ports. Other laptops have one or the other, but none seem to have 4. Maybe Apple could have made 6, but I’m sure there is a technical reason like bandwidth limits (40 Gbps x 4 = 160 Gbps) </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the coming year or two, there will be a proliferation of professional level Thunderbolt 3 add-on devices - Thunderbolt3 RAIDs,Video I/O devices from Blackmagic/Aja, Thunderbolt3-PCIe expanders, Thunderbolt3 external GPUs, Thunderbolt-40GigE adapters and many more. So, Apple has paid more attention to ‘forward compatibility’, than get stuck with older USB-A ports. We moved on from Firewire800, we’ll move on from USB3 too.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><i>GPU</i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A few Windows laptops now come with an nVidia 1060 and some even with a 1080. But none are as light or have as less power needs as the AMD Polaris GPU that the new MacBook Pros offer. Even Microsoft chose to go with the older 960 series GPU for their Surface Book and Surface Studio. And the Razer needs an external GPU with power to deliver performance. So, unless the AMD 455 in the new MacBook Pro isn’t as fast (for my video processing needs), as the GPUs my current MacBook Pros have, I should be fine with this new AMD GPU.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">There are already solutions for an external GPU over Thunderbolt2 for the current MacBook Pro. But they are limited by Thunderbolt2 bandwidth. With 40Gbps available over Thunderbolt3, its just a matter of time before someone comes up with an external Thunderbolt3-PCIe expander which will accommodate and run GPU cards like the nVidia 1080 at full bandwidth. That’s an elegant solution, and it will also charge the MacBook Pro.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><i>Display and touch</i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Like the new 2016 iMac, these new MacBook Pros have a P3 colour space display. This us huge if one is going to watch video destined for professional delivery - like cinema DCPs, and other deliveries. Finally we have a calibrated display while working. I haven’t come across a comparable Windows laptop with this feature yet.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Many Windows laptops have touch screens. I’m not sure this is a very desirable feature. For one thing, with the oily food we eat, my screen will be one mess of finger smudges, and the other, you really can’t do any serious editing with your fingers. They simply come in the way. The Touch Bar might be a better idea. And the keyboard an mouse work fine too. Have been since 1993 anyway.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><i>Operating System</i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">My current MacBook Pros run MacOSX or macOS which no other laptop will run. There is at least one application I use regularly, which is Mac only. the Codex Production Suite or Codex VFS. And I regularly need to read and write ProRes files. And run FCP. Some Windows laptop may let me do one or more of the above, but none will let me do all of that. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So, all things considered, if the new MacBook Pro offers me better performance for the video and data work that I do, I’m all for it. And I’m sure it cannot be slower than existing models I have. If anything, its lighter and thinner, and has better battery life. And, has 4 ports Thunderbolt cum USB-C, P3 display, a large trackpad, Touch Bar, faster SSD, which isn’t all there in any other laptop yet.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">So, new MacBook Pro, as far as I’m considered “Bring it on”.</span></div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-29924672729317951372016-09-26T17:35:00.001+05:302016-09-26T17:35:20.571+05:30Sharing a drive between a Mac and a PC<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Best practices that I follow when I need to share a hard drive (or even a USB 'pen' drive) between Mac and Windows.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I format the drive depending on which platform (Mac/PC) is going to do the maximum read and write with data on the drive.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So, for example if I'm going to do a lot of work on a Mac, I format the drive on a Mac (as HFS+ with GUID Partition Table), and then on Windows use HFS Explorer or MacDrive to do the occasional read/write on a PC.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Conversely, if I'm going to do a lot of work on a PC, I format the drive on a PC (as NTFS), and then on Mac use Paragon NTFS to do the occasional read/write on a Mac.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This applies to editing with FCP7/X or Premiere Pro on Mac, or even working with Photoshop or Excel/Numbers.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">If at all I run into a problem with files on a drive, I usually repair it on the native platform. Meaning, if an NTFS drive has problems, I repair it on a PC. Or, if a HFS+ drive has problems I repair it on a Mac. Never vice versa. To repair a drive on a Mac I use Disk Utility, or if that fails, then I use Disk Utility.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">And, all my data is usually backed up in two places. I use Carbon Copy Cloner or ChronoSync to keep two drives or even folders on drives synchronised with the same data. For smaller files (like FCP/Prem projects or spreadsheets, documents, or even pictures) I use DropBox, Google Drive, or iCloud to keep a copy safe.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I completely avoid MS-DOS or ExFAT for shared drives, as they are problematic over a long period.</span><br />
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-88464833764124023212016-05-24T03:19:00.002+05:302016-05-24T03:19:34.174+05:30Importing custom built (CTO) Mac systems - are they worth it?<div dir="ltr" style="text-align: left;" trbidi="on">
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In countries where Apple does not have an official online store, like in India, Apple sells Mac computers of certain fixed configurations. These can be seen on their country specific web site. So, if you wish to buy a Mac - MacBook Air, MacBook Pro, iMac, or MacPro - in India - you will need to choose from these configurations. </div>
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But, in places where Apple has an online store, you can buy higher configurations called CTO (configured to order) systems.</div>
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First let's look at the highest configuration Mac you can get in India (with comments on upgradeability by the user)</div>
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MacBook Pro 15”</div>
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2.5GHz quad-core i7, 16GB RAM, 512GB SSD</div>
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- Rs 1,99,900</div>
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(You can’t upgrade RAM or GPU but you can upgrade the SSD yourself)</div>
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iMac 21.5</div>
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3.1GHz quad-core i5, 8GB RAM, 1TB 5400rpm drive, IrisPro 6200 GPU shared VRAM</div>
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- Rs 1,23,900</div>
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(You can upgrade the drive but you can’t upgrade the RAM, CPU or GPU yourself)</div>
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iMac 27</div>
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3.3GHz quad-core i5, 8GB RAM, 2TB fusion drive, R9 M395 GPU 2GB VRAM</div>
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- Rs 1,88,900</div>
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(You can upgrade RAM and drive but you can’t upgrade the CPU or GPU yourself)</div>
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MacPro</div>
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3.7GHz quad-core XeonE5, 12GB RAM, 256GB SSD, Dual AMD D300 2GB VRAM each</div>
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- Rs 2,49,900</div>
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(You can upgrade RAM and SSD but you can’t upgrade the CPU or GPU yourself)</div>
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or</div>
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3.5GHz six-core XeonE5, 16GB RAM, 256GB SSD, Dual AMD D500 3GB VRAM each</div>
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- Rs 3,29,900</div>
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(You can upgrade RAM and SSD but you can’t upgrade the CPU or GPU yourself)</div>
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But, from an Apple online store (Dubai) you could get</div>
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MacBook Pro 15”</div>
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2.8GHz quad-core i7, 16GB RAM, 1TB SSD</div>
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- AED 12,699 - Rs 2,33,045</div>
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iMac 21.5</div>
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3.3GHz quad-core i7, 16GB RAM, 2TB fusion drive, IrisPro 6200 GPU shared VRAM</div>
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- AED 8,799 - Rs 1,61,480</div>
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iMac 27</div>
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4GHz quad-core i7, 16GB RAM, 512GB fusion drive, R9 M395 GPU 4GB VRAM</div>
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- AED 12,799 - Rs 2,34,880</div>
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MacPro</div>
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3GHz 8-core XeonE5, 32GB RAM, 512GB SSD, Dual AMD D700 6GB VRAM each</div>
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- AED 27,199 - Rs 4,99,120</div>
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or</div>
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MacPro</div>
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2.7GHz 12-core XeonE5, 64GB RAM, 1TB SSD, Dual AMD D700 6GB VRAM each</div>
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- AED 38,399 - Rs 7,04,640</div>
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There is no dealer who sells these CTO Mac in Rupees here in India. The only way to get one of these is to either import them from a dealer in, say, Dubai, Singapore, or Hong Kong - the nearest online Apple store to India. Or to fly out to one of these countries and bring them back with you. You will, however have to pay customs duties on return and even possibly excess baggage on the flight (in the case of the iMac). The MacPro could be carried as hand baggage, since its small and not too heavy. (5 kg)</div>
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Customs duty is between 17%-28% as far as I can ascertain from websites like cybex.in or duty calculator. Depending on what the machine gets classified as. That is, 17%-28% of the value as fixed by the customs person on arrival. If you have an invoice they may consider that as the value, or else they will do a lookup and fix a value to it. So, for instance if they fix a value of Rs 2 lakhs, then you’re looking at Rs 34,000 - Rs 56,000 customs duty. </div>
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So the price of the above CTO configs with 28% Customs duty will be…</div>
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MacBook Pro 15”</div>
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2.8GHz quad-core i7, 16GB RAM, 1TB SSD</div>
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- AED 12,699 - Rs 2,98,298</div>
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iMac 21.5</div>
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3.3GHz quad-core i7, 16GB RAM, 2TB fusion drive, IrisPro 6200 GPU shared VRAM</div>
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- AED 8,799 - Rs 2,06,694</div>
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iMac 27</div>
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4GHz quad-core i7, 16GB RAM, 512GB fusion drive, R9 M395 GPU 4GB VRAM</div>
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- AED 12,799 - Rs 3,00,646</div>
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MacPro</div>
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3GHz 8-core XeonE5, 32GB RAM, 512GB SSD, Dual AMD D700 6GB VRAM each</div>
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- AED 27,199 - Rs 6,38,874</div>
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or</div>
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MacPro</div>
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2.7GHz 12-core XeonE5, 64GB RAM, 1TB SSD, Dual AMD D700 6GB VRAM each</div>
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- AED 38,399 - Rs 9,01,939</div>
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So, is getting a CTO iMac really worth it?</div>
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In my opinion, for a MacBook Pro and iMac 21.5” the extra cost is not worth the performance boost you will see even in the most demanding applications. However, in the case of the MacBook Pro 15” you’re most likely to get out of Customs without paying duty as one laptop is duty waived. Even then, it’s not such a good deal.</div>
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In the case of the iMac 27” you’re going to have to pay Customs duty. But you may have to pay only 17%, or the Customs officer may assess it as the highest value iMac available in India since he cannot see the machine spec without turning the machine on which he’s unlikely to do. In which case it could cost as less as Rs 2,21,000 including duty. That is a good deal and the performance increase with an iMac i7 with a 4GB GPU is noticeable.</div>
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However, compared to carrying an upgraded (CTO) iMac 27” for 3,00,646 from Dubai to India, against getting a 4-core MacPro in India for Rs 2,49,900 and adding even a 4k display, I would go with a MacPro 4-core against a CTO iMac 27”</div>
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By the way, there are resellers who sell the iMac i7 in India on eBay. I saw two</div>
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Apple iMac 27” Retina 5k Display 4.0ghz i7 3tb Fusion 32gb, M395X 4gb - Rs 3,31,398 all incl</div>
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27" APPLE iMAC 4.0Ghz i7 RETINA 5K 512GB PCIe+6TB HD (6512GB) 32GB RAM M395X 4GB - Rs 4,20,353 all incl</div>
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Straight to your home by courier.</div>
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Here too, for these prices, a 4-core MacPro bought in India against Rupees is a better deal.</div>
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One more thing. Buying a CTO iMac in foreign currency and carrying it in, or even buying it online, may not let you claim depreciation or income tax benefits in India. This could be a big consideration. Besides, maybe there are warranty issues to consider for self-imported Mac systems.</div>
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So, bottom line. Most CTO Mac configs aren’t worth the trouble and expense of importing into India. </div>
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What about a hackintosh - meaning, an assembled PC hacked to run the MacOS. Is that a good deal? Many say they are, and some say they aren’t. I have very little direct experience and the few occasions I saw a hackintosh running an editing software like FCP or Avid, it was not stable enough. This was a few years ago, and maybe things have changed now. One of these days I might find time and build one myself. If and when I do that, I’ll share the experience. </div>
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Till then, my vote is for getting a ‘real’ Mac made by Apple. In India and in Rupees.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-21231797404968672112015-05-15T21:41:00.001+05:302015-05-15T21:41:40.860+05:30What is this 23.98 fps and 24 fps confusion?<div dir="ltr" style="text-align: left;" trbidi="on">
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First off, 23.976 fps and 23.98 fps is the same thing, One is just showed as rounded off to two decimals.</div>
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There is some confusion on this 23.98 fps frame rate. Many, if not most prosumer cameras - like the Canon 5D MkII and MkIII, Nikon, Sony, Olympus HDSLRs, GoPro, Sony XDCam and NXCam, Panasonic cameras and such like record 23.98 fps, not 24 fps. What makes it confusing is the the menus in some of these cameras show 24p or 24 fps but actually shoot 23.976 fps. </div>
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Further, even some NLEs like FCP or Avid, have 24p settings which are actually 23.98. And, in forums and articles particularly those originating in NTSC countries like the US, people refer to 23.976 fps as 24 fps. </div>
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So, why 23.98 fps? What purpose does an odd frame rate like that serve? This is a question many in the PAL world, or those coming from film (24 fps) backgrounds ask. </div>
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The short answer is that 24 fps video does not play on 29.97 fps TV sets or TV monitors. But 23.98 fps can be made to play on 29.97 fps monitors. But the whole world does not have 29.97 fps TV monitors, only the US and NTSC countries have 29.97 fps TV monitors. That’s why people from NTSC countries cannot fathom 24 fps video. They only understand 23.98 fps video. And people from PAL 25 fps countries cannot fathom 23.98 fps. They only know 24 and 25.</div>
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Where did 23.98 fps come from?</div>
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<b><i>History</i></b></div>
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Television originated in the US. Initially, there was only live TV (video recording came later). So, there needed to be some way to ensure that TV cameras in studios and TV sets at home remained in perfect sync. The only way for the technology of the day, was to sync to electrical mains. And mains in the US was 60 Hz. So the original fps of TV was set to 30 Hz or 30 fps. </div>
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When colour TV came about, a small adjustment had to be made to transmit the colour reference signal. This needed the frame rate for colour TV (in the US) to be set to 29.97 fps. Which is why NTSC is still 29.97 fps. And there’s no such thing as 30 fps any more. Even in HD, 1080i60 is actually 29.97 fps.</div>
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In the PAL world, meanwhile, TV began as 25fps since electrical mains in UK and other European countries, was 50 Hz. So, PAL countries adopted 25 fps for TV.</div>
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Coincidentally, all cricket playing countries, also have 50 Hz mains - England, India, Pakistan, Bangladesh, Australia, New Zealand, South Africa, Kenya, UAE, Netherlands, even Afghanistan are all PAL and 25 fps. Canada isn’t PAL, and they play cricket, but who really cares about watching Canadian cricket.</div>
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<b><i>Film and TV</i></b></div>
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What happens to film which is 24 fps? Film has always been 24 fps. Exactly 24 fps.</div>
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When film was shown on TV, it was shown using a machine called ‘Telecine’ which converted film to Television. In NTSC countries, this was done by repeating 6 frames every second so 24 fps became 30 fps in the Black & White TV days. For colour TV (NTSC - 29.97 fps), film was run at 23.976 fps and 6 frames repeated every second to get 29.97 fps.</div>
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In PAL countries, film was either run at 25 fps (4% faster) to get a 25 fps TV signal, or one frame was repeated every second to get 25 fps from 24 fps. So, in PAL countries film was 24 fps in a cinema and 25 fps on TV. No in-betweens like 23.98 fps.</div>
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<b><i>Digital</i></b></div>
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When video became digital, it still had to follow existing frame rates. And when SD got upgraded to HD, we still followed old frame rates so that old SD material could be used for HD TV. Today, we have TV sets which can play any frame rate, so there’s no need to have a distinction between video and film rates. But its too late to change now. </div>
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So now, we have </div>
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1080i50, 1080p25, and 720p25 all at 25 fps</div>
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1080p50 at 50 fps</div>
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1080i60, 1080p30, and 720p30 all at 29.97 fps</div>
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1080p24 at 23.98 fps</div>
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1080p50 at 59.94 fps</div>
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and there’s also 1080p24 in the PAL world at exactly 24 fps. </div>
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Movies are watched in cinemas on digital projectors showing DCPs (Digital Cinema master files) playing out of DCP ‘servers’. These servers support all frame rates, but theatrical ‘film’ is generally 24 fps. At least in all Indian cinemas, and in most film festivals worldwide.</div>
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Blu-ray disks are either 24 fps or 23.98 fps. Or even 25 fps.</div>
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DVDs are NTSC or PAL, so 29.97 fps or 25 fps.</div>
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Professional video cameras like the Arri Alexa/Amira, Red Epic/Dragon, Sony F65/F55/F5, Blackmagic Ursa/Production 4k, Aja Cion and others offer 23.98 fps, 24 fps, 25 fps, 29.97 fps, and higher frame rates. So they offer 23.98 and 24 fps as two different menu items.</div>
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<b><i>How about 4k?</i></b></div>
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4k also preserves this 23.98 and 24 fps distinction and both exist. 4k cinema DCPs are 4k at 24 fps. And 4k TV, also called UHD (the TV form of 4k) will exist as 29.97 and 25 fps. And even as 50 fps and 59.94 fps.</div>
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So that’s the story. 23.98 fps, is not the same thing as 24 fps. Both will be around and both will co-exist. And depending on who you ask, or what you read, some will distinguish between the two and some will refer to only one. And those that refer to only one, will most likely mean 23.98 fps. That’s just the way it is, and for the foreseeable future, that’s how it will remain.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-45967673908608301552015-04-11T17:30:00.000+05:302015-04-11T17:30:28.543+05:30NAB 2015 - what I'm looking out for<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It's NAB time once again, and I'm back in the US. Spending the weekend away from Las Vegas, unwinding, reading up, preparing, and getting over jet lag just before I go into Vegas tomorrow.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This year, the things I'm paying attention are...</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">4k - where are we so far? </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">4k Recorders, recording software, formats, codecs.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">New cameras for prosumers, docu and independent film-makers Canon XC-10, C300, and others.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Wireless video - not the streamed low-res stuff, but full res HD and uncompressed.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Disk Storage - of course, disks will be larger than last year, faster perhaps, but what's new?</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">10 GigE - faster networking and sharing for small groups.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">VFX software - what's new in this field where no one seems to be making money.</span><br />
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-56753783657626449062015-01-06T20:27:00.001+05:302015-01-06T20:28:38.146+05:30FCP 7 on Yosemite and new Macs<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FCP 7 still works, and can be installed on any new Mac even one which ships with Mac OSX 10.10 Yosemite, as this link shows...</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://provideocoalition.com/ssimmons/story/installing-and-editing-with-final-cut-pro-7-on-a-new-macbook-pro-with-yosem" target="_blank">FCP 7 on Mac OSX 10.10 Yosemite</a></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I've tested this on new MacBook Pros, older MacPros, and new cylinder MacPros, iMacs, and FCP 7 continues to work. So, while Apple officially discontinued selling and even developing for FCP 7 (and Final Cut Studio), the software still works. Of course, any bugs or issues present in FCP 7 as of June 2011, will still be there and never get fixed.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I've found some issues in DVD Studio Pro like colours of buttons aren't visible in the drop down menu, and Cinema Tools is often unstable. But otherwise it works.</span></div>
Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-83479974547980503972015-01-06T20:21:00.002+05:302015-01-06T20:29:57.933+05:30Blackmagic Digital Fusion the new compositing software<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="background-color: white;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Eyeon Digital Fusion, a compositing and FX software, is now Blackmagic Digital Fusion. Its also free to download and use. Advanced features are in the paid version which is under Rs 65,000.</span></span><br />
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<a href="https://www.facebook.com/l.php?u=https%3A%2F%2Fwww.blackmagicdesign.com%2Fproducts%2Ffusion&h=LAQF6_ME0&enc=AZOj0ALJ1MwhmU1zz5s7-H-tFY_er0LSz398d-m5YPgEAI5-G1w_aQU8QwFw1svou3-f0EoCUzZooZsIFm4eQFeIHxD-GM78fmZ5ESaIhebbYNZVMImMOejJalgN5A5JUJFMdEkDA89cDyD9Z2MgWpmN&s=1" rel="nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">https://www.blackmagicdesign.com/products/fusion</span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Its for Windows only at the moment, but a Mac version might be possibly in the works. Or, maybe, compositing features might find their way into DaVinci Resolve. Let's wait and see.</span></div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-31121980253089231642014-08-02T13:08:00.004+05:302014-08-02T13:14:46.492+05:30Which iPad (Aug 2014)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVwkLTkYpps4pwr__Bc3AVRlzow43XMqX3m2UjePOx-Ml64PIxmWc4eLLTTdwCX_aqNbk_fXD3_UvPU-BX_ScViBUy4quE70lzJJMPUym46jSnKfBR4sdzRwBeKONx8CHtdFd8LQ/s1600/iPad+models.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVwkLTkYpps4pwr__Bc3AVRlzow43XMqX3m2UjePOx-Ml64PIxmWc4eLLTTdwCX_aqNbk_fXD3_UvPU-BX_ScViBUy4quE70lzJJMPUym46jSnKfBR4sdzRwBeKONx8CHtdFd8LQ/s1600/iPad+models.png" height="259" width="640" /></a></div>
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There is a comparison of all current iPads at Apple India site with prices...</div>
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https://www.apple.com/in/ipad/compare/</div>
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There are four models available (as of Aug 2014)</div>
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iPad Air</div>
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iPad with Retina</div>
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iPad mini with Retina</div>
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iPad mini</div>
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Prices for all models and variants are on that page too. Here's what MRP in India as in Aug 2014 look like...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7DAhnkmccnBf1ehONLObcFy7jaAcO14Whf9lLYXGKk8PZgvvctBrPOQLaHWjbOveNE-D6BkAZ_i8BkqGFbKy5XRdBLkfu5DwbhKiZJfYK6WZ5mjyqkreSZfdz5gkYRqma1UOQQ/s1600/iPad+prices.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7DAhnkmccnBf1ehONLObcFy7jaAcO14Whf9lLYXGKk8PZgvvctBrPOQLaHWjbOveNE-D6BkAZ_i8BkqGFbKy5XRdBLkfu5DwbhKiZJfYK6WZ5mjyqkreSZfdz5gkYRqma1UOQQ/s1600/iPad+prices.png" height="336" width="640" /></a></div>
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From this, here are things to consider when choosing an iPad…</div>
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<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">There are two ‘mini’ models and two full size models.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">The full-size iPad with Retina is the older model with the older processor. Means, slower.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">The full-size iPad Air is the newest model. Fastest.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">The full-size iPad Air and the small iPad mini retina are identical except for size.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">The full-size iPad Air and the small iPad mini retina models differ by Rs 7000 across all variants.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">The two full size models and the mini retina have the same resolution.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">All models with Wifi+3G cost Rs 9000 more than the corresponding one with Wifi only.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">The full size iPad retina (not Air) and iPad mini (not retina) are available only as 16 GB.</li>
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So, which one?</div>
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If you need… </div>
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Internet everywhere, then get any Wifi+3G variant.</div>
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to play fast games, then get iPad Air or iPad mini retina.</div>
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don’t need to work on large documents, have lots of photos or music then get higher memory.</div>
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My recommendations…</div>
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Larger screen, tight budget, basic documents, Internet, some music, Skype, wifi always available </div>
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- iPad retina 16 GB Rs 29,000 - add 3G for Rs 9,000 more</div>
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Ultra portable, basic document work, some photos, movies, occasional games</div>
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- iPad mini Retina Wifi 32 GB Rs 36,000 - add 3G for Rs 9,000 more </div>
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Lots of games, music, movies, need continuous Internet</div>
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- iPad Air 64 GB Wifi+3G Rs 59,000 - 32 GB enough, deduct Rs 7,000</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-56869906607315847482014-07-16T18:26:00.003+05:302014-07-16T18:28:21.779+05:30Alexa transcodes and MPEG Streamclip<div dir="ltr" style="text-align: left;" trbidi="on">
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There seem to be a few ‘DITs’ in Mumbai who are in the crooked business of converting Alexa files using MPEG Streamclip and creating files with no timecode or reel name match with the original Alexa files. The result of this is that, after the editor finishes editing, the DI house cannot match the EDL to the original files. Editor gets the blame, and he/she or his/her assistant has to rematch the entire film. Days of wasted labour for no fault of theirs.</div>
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DI houses, to their credit or discredit sometimes perpetuate this “editor is to blame” myth and even go on to do the rematching on a Smoke system and charge the poor producer. For an activity that was not even necessary.</div>
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Here are details…</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV9yEHUc6rz7cGwfzLVPlRiwweIpvFr8W9OMPASWqTFpG-7epYdjOwE0c44jPZqT23ch9oEXPArOdjgaX3a5nbWiBIxUjP07huw451poIel2nNGR7Sxu2db2CqVYX7tjI4EACF9g/s1600/MPSC+vs+good+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV9yEHUc6rz7cGwfzLVPlRiwweIpvFr8W9OMPASWqTFpG-7epYdjOwE0c44jPZqT23ch9oEXPArOdjgaX3a5nbWiBIxUjP07huw451poIel2nNGR7Sxu2db2CqVYX7tjI4EACF9g/s1600/MPSC+vs+good+2.jpg" height="158" width="400" /></a></div>
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The picture shows Alexa original files in an FCP project side by side with MPEG Streamclip transcodes. You can see clearly that the transcoded files have no timecode (Media Start and Media End) and no Reel.</div>
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If you make an edit with these clips, and try to make an EDL, you get a missing reel names warning like this one.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyYEqFc5mnIaNjrcXovWxTbaOOP2hCapsMHS-RlICPSLNJk1v3AM4MQwV-S8dZuGxaH5kBadgyiZduD_qSXpT93asyu8L0opsQQpVOjK0OqPlgSRmdDt_Ay8OkETMiIS2hcrywA/s1600/Reel+warning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyYEqFc5mnIaNjrcXovWxTbaOOP2hCapsMHS-RlICPSLNJk1v3AM4MQwV-S8dZuGxaH5kBadgyiZduD_qSXpT93asyu8L0opsQQpVOjK0OqPlgSRmdDt_Ay8OkETMiIS2hcrywA/s1600/Reel+warning.jpg" height="178" width="400" /></a></div>
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If you continue, you get an EDL with warnings.</div>
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The exact same clips, if correctly transcoded with timecode preserved, will make an EDL which has the exact same timecode of the original. See this comparison on both EDLs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNF_W74QTh8lZHrfZ_LFgiXXElt9ElCI3iodziGNdk6YU3JMxnYYIGMKJT4rkTP92PJQ9HscQ8rxX3mh4JxC5cMciJOZPxn9S4STHTP9fDtTQskWIAayigbtMEetJ2NFCZZk1-JA/s1600/EDL+compare+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNF_W74QTh8lZHrfZ_LFgiXXElt9ElCI3iodziGNdk6YU3JMxnYYIGMKJT4rkTP92PJQ9HscQ8rxX3mh4JxC5cMciJOZPxn9S4STHTP9fDtTQskWIAayigbtMEetJ2NFCZZk1-JA/s1600/EDL+compare+2.jpg" height="331" width="400" /></a></div>
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As you can see, the EDL made with MPEG Streamclip transcodes don't carry original time codes, and have no Reel info, so they will never match back to original files.</div>
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So, if you’re an editor who has to edit a digitally shoot movie, please first check all the transcoded files for the presence of reel name and timecode. If there's no reel name and the timecode doesn’t match the original file, please bring it to the notice of the producer, quote this article if needed, and let them know that this could be problematic when doing DI.</div>
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If you haven’t started editing yet, get the files transcoded again before you begin. And, if you’ve already finished the edit, then there is still a way to mathematically calculate the cut start and end times and recreate EDLs without having to eye-match the whole edit.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-82122638871341867182014-05-29T14:46:00.000+05:302014-05-29T14:46:15.694+05:30Sony FS-100 compatibility with FCP 7 or X and Premiere Pro<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Tip for Sony FS-100 camera users. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sony FS-100 shoots a format called AVCHD. This can be edited on FCP 7 (7.0.3) or FCP X (10.1.1). </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In FCP 7 you import clips with 'Log & Transfer'. In FCP X just import clips.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">If you shoot HD PS (28Mbps) 1920x1080 50p or 60p, then FCP 7 will not be able to import your files. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But FCP X (10.1.1) or Premiere Pro CC will.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">If you need to edit in FCP 7, you'll need to shoot </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">HD FX (24Mbps) 1920x1080 25p or </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">HD FH (17Mbps),1920x1080 25p, </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">or if you must have 50i/60i, then shoot </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">HD FX (24Mbps) 1920x1080 50i or 60i, or </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">HD FH (17Mbps) 1920x1080 50i.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In FCP 7 or X, convert to ProRes LT is sufficient, ProRes or ProResHQ is overkill for this format.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Either way, always copy the entire camera card to a folder on your drive. Not just some folder. Copy the 'PRIVATE' folder and any other folder to you drive. Copy to a new folder each card. To avoid dupe clips, use a card, transfer it to hard drive, return it to the camera, format it and use again. Reusing the card will create duplicates on your hard disk.</span></div>
Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-43745049903145680012014-02-26T17:51:00.001+05:302014-02-26T17:51:37.864+05:30Digital camera post data workflow<div dir="ltr" style="text-align: left;" trbidi="on">
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For shoots on Arri Alexa, Red Epic, Sony F65, Canon 5D, Phantom, or any such digital camera, is there a preferred workflow for the post?</div>
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When the edit is complete and its time to extract files for promos, for VFX, or even for the final DI, most producers send the original hard disks (al 20, 30, 50 or more drives) to the DI facility. Places like Prime Focus, Reliance, Prasad or wherever. </div>
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In these studios there are a bunch of very over worked in-house data managers and conformists who use the hunt-and-copy technique to copy the selected files from original disk to their own Baselight or Resolve or whatever. </div>
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Delays, wrong files, confusion, tempers… and other such dramas end up happening.</div>
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What’s the best way to do this? Is there some kind of data or file management in post? Can someone who can handle this workflow more elegantly?</div>
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Over the past few years, and after doing it for a dozen films, I’ve worked out a cleaner method.</div>
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<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">First, I make a database of all your hard drives. Which should be anything between 10 to 20 to 50 individual drives. And data spanning anything between 10 Terabytes to 100 Terabytes. All this happens at the producer’s office, or they can send drives to my place. I save only the file names and paths, no pictures. Or sounds.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">Then, as and when files are needed, I call for the Avid or FCP sequence. No need to make EDLs or XMLs or anything. </li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">Then, my software scripts go through the Avid or FCP (or even Premiere Pro) sequence extract needed files, and search my database for the needed files. No need to access the hard drives yet. So all this can happen at my place and you can simply email me the Avid or FCP sequence.</li>
<li style="font-family: Helvetica; font-size: 14px; margin: 0px;">Then I build scripts to automatically copy the necessary shots to another hard disk for sending to Promos, VFX, DI or wherever.</li>
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The result is that instead of carting all your tens of hard disks to the DI place, you only send out a small drive containing only the used shots and nothing else. And, to save space and time at both ends, I can even ‘trim’ the original shots to the required duration plus handles.</div>
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Sending me a reference mov helps me to confirm that I have the right shots. But that’s optional. If the original conversion from camera files to FCP or Avid files was done accurately by the data manager on location, then my systems and software usually pick the shots fine.</div>
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As an example, for a movie that released last week, the original F65 data was spread over about 15 drives, about 30 Terabytes. The sorting took just about 2 days. And the sorted reels were ready at about 4-5 hour intervals. So, 4 hours after I got the edit, the DI could begin.</div>
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And the total sorted data with 1 sec handles was just 4 TB. And this is the archive the production needs to keep a backup of after the film is released.</div>
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<b><i>Conversion, transcoding, dailies</i></b></div>
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After the shoot one needs shooting files need to be converted (or transcoded) to something before editing can begin. That something can be Apple ProRes for FCP or DNxHD for Avid. </div>
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This conversion is usually done by the on-location data manager. But, with the sheer volume of shooting, multiple cameras being used, time to backup being huge with older laptops, data managers often find the task daunting. So, they sometimes end up with errors like not passing the original timecode, reel names, or even at times messing up file names.</div>
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If I or my systems do the original conversion on a daily basis, then the database of your drives is built as we go. So, in the end, shot spotting and copying is much faster and more accurate. So, productions send me one copy of the shooting drive on a daily basis after packup each day. And I do conversions overnight and you have editable dailies the next morning. For outstation shoots, they cargo the drive to me every few days and I do the conversions.</div>
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So, digital shooting need not be a nightmare in post and DI. Some planning, some competence in data handling, and its a breeze.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com2tag:blogger.com,1999:blog-20814303.post-62957623934010367892014-01-16T15:40:00.000+05:302014-01-16T15:40:00.677+05:30Facebook musings from 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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A bit late, but better late than...</div>
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Below are a collection of Facebook postings from my '<a href="https://www.facebook.com/groups/165027563933/" target="_blank"><b>Neil Sadwelkar's Tech Corner</b></a>' page.</div>
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(https://www.facebook.com/groups/165027563933/)</div>
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Posts I made, some friends made, some commented, and I did too. In chronological order, latest one on top going back. Kind of quaint to go through some announcements, some predictions. many questions raised some answered some not.</div>
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I am thankful to all who participated in my Facebook Tech Corner page, particularly to Viral Thakkar who started this thing.</div>
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Hope we all have a great 2014 full of interesting gadgets and stories with them.</div>
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Here goes...</div>
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I looked closely at the effects features in Avid MC 7. Awesummm</div>
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Particularly the colour correction, compositing, masking, tracking, and titling. </div>
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If only Avid editors took time to go over these and actually use them for ads, music videos, corporates to do online on the same timeline they edit. They can save their clients online charges on Smoke. And pocket that money for themselves. </div>
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Guys, (and gals)… Avid has left money on the table.</div>
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December 25 at 11:28am</div>
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So the new MacPro is indeed hard to match or beat in cost or spec. And even if you do, you get a box that's nowhere as good-looking as Apple's cylinder.</div>
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I'm sold on this...</div>
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http://www.electronista.com/articles/13/12/24/does.better.in.some.areas.but.cant.compete.on.cost.or.specs/</div>
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December 28 at 12:50am</div>
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Thunderbolt as an add-on, but on PCs only…</div>
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http://blogs.intel.com/technology/2013/11/intel-announces-thunderbolt-ready-upgrade-program-for-pc-motherboards-desktops-and-workstation-computers/</div>
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December 24 at 7:28pm</div>
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And, Avid now supports Win 8.1 and OSX 10.9 with MC 7.0.3</div>
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And many new features added too…</div>
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http://www.avidblogs.com/media-composer-7-0-3-mavericks-windows-8-1/</div>
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Media Composer 7.0.3 for Mac OS X Mavericks, Windows 8.1—Now Available</div>
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December 23 at 11:37pm</div>
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New MacPro tested…</div>
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http://www.macworld.com/article/2082568/lab-tested-new-mac-pro-is-the-speedster-weve-been-waiting-for-finally.html</div>
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Macworld Lab ran a series of tests on a new 8-core Mac Pro, and if you're using professional software for high-end tasks, you'll like the results.</div>
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The really surprising result amongst these readings, is how good the iMac and particularly the newest retina MacBook Pro is. I mean, why would you want an older MacPro any more. Just wait for the new MacPro to arrive, or settle for an iMac.</div>
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December 23 at 11:21pm</div>
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This is how small the new MacPro really is…</div>
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http://www.macworld.com/article/2082507/12-things-that-show-how-small-the-mac-pro-really-is.html</div>
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12 things that show how small the Mac Pro really is | Macworld</div>
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December 23 at 7:50pm</div>
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Amitabh Shukla So what are they going to do with the Mac mini now???:-)</div>
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Neil Sadwelkar I was wondering too, with this thing so small. But there's not much scope to shrink the Mac mini. Maybe Apple will introduce something like the Intel NUC.</div>
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December 23 at 11:04pm</div>
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New Mac Pro Unboxing</div>
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And a video of the new MacPro unboxing too…</div>
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http://www.youtube.com/watch?v=KhIA-AU3Zvk</div>
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December 21 at 2:42am</div>
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Jabeen Merchant Oh. I want!!!</div>
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December 22 at 1:35pm</div>
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Jay Dantara</div>
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I have a few shots which are 1920x1080 25p. Footage is converted to Pro Res LT. I need to slow them down to 50%. Can you suggest a good workflow? Is Twixtor my best option Should I do it on my MBP or a faster windows machine if on windows then what should I covert it to initially? — with Neil Sadwelkar.</div>
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December 21 at 2:44am</div>
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Neil Sadwelkar Motion has a rather good smooth optical flow slow motion.</div>
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http://www.youtube.com/watch?v=oKeA-S2iNuY</div>
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Final Cut Pro - Better slow motion with Motion 3 optical flow retiming roundtrip</div>
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www.youtube.com</div>
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December 21 at 10:50am </div>
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Jay Dantara Thanks will try this out. Will let you know which one works for me by evening. It's an action shot of sword fight. Hope we can cope with the distortions.</div>
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December 21 at 10:54am</div>
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Awesomeness awaits.</div>
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The first 24 hours with Apple's new Mac Pro and Final Cut Pro 10.1</div>
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http://www.fcp.co/final-cut-pro/articles/1307-the-first-24-hours-with-apple-s-new-mac-pro-and-final-cut-pro-10-1</div>
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Very tempted to order this puppy!</div>
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December 21 at 2:04am</div>
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Apple ProRes HQ, ProRes4444, ArriRAW in resolutions of 1920x1080, 2048x1152, and 2880x2160 all mixed and in almost equal quantities…</div>
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Try and spot the differences between them - in Dhoom 3.</div>
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So next time you're choosing between ArriRAW and ProRes...</div>
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December 20 at 10:54am</div>
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Final Cut Pro X 10.1 all features here…</div>
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http://www.apple.com/final-cut-pro/all-features/</div>
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Apple - Final Cut Pro X - All Features</div>
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December 19 at 6:02pm</div>
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Final Cut Pro 10.1 released. First major update in over 2 years. (9 updates in between).</div>
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And no, the timeline is still the same, so you still need to learn this new interface.</div>
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http://www.apple.com/final-cut-pro/whats-new/</div>
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Apple - Final Cut Pro X - What's New</div>
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December 19 at 5:42pm</div>
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New 'cylinder' MacPro is now available on the US store and will ship before Dec 31. India availability and pricing awaited.</div>
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December 19 at 5:41pm</div>
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Apple New MacPro available from tomorrow. Pricing as on the web site. India pricing and availability awaited…</div>
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http://www.apple.com/pr/library/2013/12/18All-New-Mac-Pro-Available-Starting-Tomorrow.html</div>
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December 18 at 11:30pm</div>
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4k for under Rs 30,000 (thirty thousand)???</div>
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http://9to5mac.com/2013/12/16/review-seikis-39-inch-4k-tv-as-a-display-for-a-2013-macbook-pro-with-intel-iris/</div>
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Take note of the 30Hz observation. And think of what will happen at 24fps or 25fps.</div>
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December 17 at 12:54am</div>
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'Highway', first official trailer. </div>
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A movie shot, literally, on the highway in North India. </div>
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A journey, for the characters, and those who worked on the movie, and told the story.</div>
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https://www.youtube.com/watch?v=LSrDD52bx4A</div>
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Shot digitally, on one of the most amazing digital cameras... </div>
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more on that later.</div>
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December 16 at 11:44pm</div>
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Aditya Warrior</div>
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WHY would a DCP play outsync in some Theatres when it is fine elsewhere?The whole thing is 5 to 6 frames off at times. Its so pissing off.</div>
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December 14 at 10:46pm</div>
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Neil Sadwelkar There's nothing in a DCP play out server that adjusts audio-video sync. And there's no likelihood of any device in the chain that can cause a 5-6 frame audio lag. Could be that DCPs were made by different facilities for different theatres. And some didm;t place the audio correctly with video.</div>
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December 15, 2013 at 2:04pm</div>
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Farooq Hundekar but i too faced the same problem on a film.. the dcp seemed off by 3-4 frames throughout while the print of the same was perfectly fine.. and the screening was dun in the lab for both...</div>
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December 15, 2013 at 2:08pm</div>
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Farooq Hundekar and the lab din have a solution to it</div>
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December 15, 2013 at 2:11pm</div>
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Aditya Warrior The dcp was made in 2 diff labs for comparison and shown in the same theatre. 1 was lesser out sync than the other. But yet it was out. As Neil says in the chain it's not possible. That is why the question has arisen.</div>
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December 15, 2013 at 2:31pm</div>
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Neil Sadwelkar In most DCP authoring softwares one imports the picture (DPX/TIFF/MOV) and sound (WAV) separately. If picture and sound are delivered with different lengths of leader, the operator needs to set an offset for the sound. If this is calculated incorrectly, the DCP will be out of sync. And will play out of sync too.</div>
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If one sees an out sync DCP in a cinema one test could be to play some other DCP in the same cinema - a trailer or an ad. </div>
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If that's in sync, then that cinema is fine and your DCP is not.</div>
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December 15, 2013 at 7:06pm</div>
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New MacPro pricing estimate…</div>
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4-core, 3.7 GHz, 12 GB RAM, Dual AMD Pro 2GB, 256 GB SSD - Rs 2.1 lakhs</div>
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6-core, 3.5 GHz, 16 GB RAM, Dual AMD Pro 3GB, 256 GB SSD - Rs 2.8 lakhs</div>
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6-core, 3.5 GHz, 32 GB RAM, Dual AMD Pro 3GB, 512 GB SSD - Rs 3.2 lakhs</div>
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December 15 at 7:16pm</div>
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Shrirang Nargund</div>
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original rushes - AVCHD, down converted to AVI for minimizing the volume. total no. of clips (files) - around 200. total down converted volume - under 1 gb. software - adobe pro CS3. while importing the files, after 75 files it imports only audio. is it max. number of clips that I can import or is there any other problem?</div>
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December 8 at 6:33pm</div>
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Jay Dantara Just thinking out aloud... Does this occur if you import the clips in random order also? All the clips are OK outside the edit software? Did you try importing in different sequence settings and different projects? Did you try it on another system? Are you on windows or Mac? If on Mac then rather convert them to QuickTime container. (QT).</div>
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December 9 at 2:29pm</div>
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Shrirang Nargund thanks Jay for the valid questions. am on windows8, laptop. have tried in random order. all clips are playing perfectly ok outside the software. tried by opening different new projects.</div>
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December 10 at 3:38pm</div>
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Sourya Sen</div>
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I have to do an edit soon and I have a variety of formats, aspect ratios and frame rates that I need to work with. I know how each works as a workflow but I'm a little confused as to how to go about combining all of this. I'll do my own tests soon but if anyone has ever combined all of this before, some pointers would be helpful. The following are what I need to work with.</div>
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RED Epic, 5k and 2k at 25, 50 and 75 fps.</div>
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5DMkIII running Magic Lantern, 1920x818 (1:1.235) RAW footage at 29.97 and 59.94 fps.</div>
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FS700 at 1920x1080 at 30, 60 and 240 fps.</div>
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December 5, 2013 at 1:34pm</div>
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Neil Sadwelkar What is the final output spec? HD/SD/DCP? At 24/25/29.97 fps? That will dictate your editing format.</div>
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December 5, 2013 at 4:34pm</div>
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Sourya Sen HD. For web - so the final frame rate is flexible. If there's one that has an advantage over the other, then I'll go for that.</div>
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December 5, 2013 at 4:45pm</div>
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Sourya Sen Oh and I also have some 5DMkIII at 1080p 25fps.</div>
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December 5, 2013 at 4:45pm</div>
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Ashish Heblekar Neil Sadwelkar I know this is a nightmare but you are the only one who can give us a possible solution. Will explain the backstory of all these mixed formats when we meet in person.</div>
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Also any idea if this should be edited on Premiere and not FCP?</div>
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December 5, 2013 at 5:02pm</div>
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Sourya Sen Has to be Premiere I'm guessing. My solution at the moment is getting proxies out of the RAW clips via Resolve Lite - mixing it w/ native Red and FS700 on the Premiere timeline (need to figure what frame rate to work on) - once the final edit is done, export XML of the RAW separately to take to Resolve to grade and grade the FS and RED on Premiere/Speedgrade.</div>
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December 5, 2013 at 5:26pm</div>
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The more I read about it and study the options the more I get the feeling that Digital Asset Management appears to be a solution looking for a problem. DAM it.</div>
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December 10 at 11:51am</div>
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When dealing with 4k, two things to pay attention are viewing distance and camera moves. Low and slow, respectively.</div>
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November 29 at 1:13pm</div>
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How good is Canon Raw video via Magic Lantern? </div>
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Bear in mind, the post workflow is a bit tedious. If you're the impatient, not methodical type, avoid magic lantern raw. Also, the raw video may or may not work with 'higher' forms of post machines - Smoke, Quantel, Baselight. Resolve works.</div>
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Here, some examples…</div>
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http://www.youtube.com/watch?v=WTr2L3uCYts&feature=youtu.be</div>
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November 25 at 10:58am</div>
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Angshuman Ghosh </div>
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Any ideas who in Bombay has a BMD Teranex to upres SD NTSC to HD/2K?</div>
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November 16, 2013 at 8:20pm near Khar</div>
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Neil Sadwelkar You don't have to do it through Teranex. You can do it with software too. Teranex is when you have large amounts of tape based SD media which needs up-conversion in real time.</div>
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November 17, 2013 at 10:06am</div>
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Angshuman Ghosh Sorry, failed to mention it is tape based. Is hardware up conversion better than software? Negligible difference? Or on a case by case basis?</div>
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November 17, 2013 at 2:13pm</div>
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Neil Sadwelkar After up-conversion what's the output you need? HD tape? Or HD file? If HD tape then you need Teranex. If file, then use software convert. What's the quantity, and time available?</div>
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November 17, 2013 at 8:46pm</div>
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Angshuman Ghosh Most likely master as an HD file (unless otherwise required for a theatrical). The rushes are on NTSC MiniDV Tapes, about 50 hours. All don't need to be upconverted, just the picture lock, except there is no TC sync, only eye matching most probably. Still software?</div>
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November 27, 2013 at 9:07pm</div>
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Is it 'old school' to have each and every shot in focus? </div>
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Is it 'old school' to have long shots and close-ups from the same scene match in lighting. Meaning, look like they happened in the same place and time? </div>
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Is it 'old school' to hold the camera steady during a shot? </div>
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Is it 'old school' to avoid on axis cuts? </div>
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Is 'axis' even relevant in cinema any more? </div>
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I wonder.</div>
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November 24 at 11:31am</div>
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Darpan Ashokrao Salunkhe Old School still Runs... No Wonder ! </div>
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November 24, 2013 at 11:35am</div>
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Ashutosh Nandkumar Books and experiment manuals can be new, but for school, the older the better. </div>
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November 24, 2013 at 11:42am</div>
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Viral Desai Sir if the drama is spot on do these things really matter? I wonder.</div>
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November 24, 2013 at 11:44am</div>
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Priyadarshini Krishnaswamy thank you...</div>
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November 24, 2013 at 12:30pm</div>
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Nikhil Idurkar Western cinema still holds an influence. Must confess.</div>
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November 24, 2013 at 1:59pm</div>
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Jabeen Merchant The people who use that phrase the most usually never went to any school!</div>
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November 25, 2013 at 10:58am</div>
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Utsab Bandopadhyay I follow a simple mantra" learn the rules and respect them and then make your own rules". But its the story which is the deciding factor for choosing a visual treatment that determines the visual narrative flow that makes you chose old skool film makin...</div>
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November 25 at 2:16pm</div>
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Neil Sadwelkar "grammar for cares as who thoughts long as conveyed are"</div>
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can be understood if you read it a couple of times. That's exactly cinema where grammar and rules aren't followed. But cinema audiences don't always have the liberty of repeated viewing. </div>
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Hence, simple visual rules.</div>
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November 25 at 3:15pm 4</div>
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Anyone clamouring to shoot on F65 but can't get their hands on one should take a look at the F55. Smaller, lighter, easier data handling, and affordable. You can afford to even buy it if you're looking at 150 days of shoot within 2 years.</div>
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November 21 at 2:30pm</div>
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Got Rs 4 lakhs for a 20 inch 4k resolution tablet?</div>
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Go spend…</div>
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http://provideocoalition.com/news/story/panasonic-toughpad-4k-ut-mb5-tablet-makes-u.s.-premiere</div>
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Panasonic Toughpad 4K UT-MB5 Tablet Makes U.S. Premiere</div>
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November 14 at 1:57pm</div>
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Highway teaser.</div>
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Or, how an intrepid group of film-makers took a wild journey to tell a story, and how the journey also became a story.</div>
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http://www.bollywoodhungama.com/more/videos/view/id/2193278</div>
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November 5 at 4:07pm</div>
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For all digital aficionados and skeptics… </div>
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It's not the camera, its the guy (or gal) who stands, yes stands, behind it.</div>
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And the guy (or gal) who sits and puts (edits) it all together.</div>
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One request. Watch it at least at 720p. </div>
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http://www.youtube.com/watch?v=yeF_b8EQcK0</div>
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October 31 at 8:53am</div>
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Black Promise drives to match the new black MacPro…</div>
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http://www.anandtech.com/show/7461/promise-technology-announces-pegasus2-and-sanlink2-thunderbolt-2-products</div>
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October 28 at 8:44am</div>
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Heard a strange one recently.</div>
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Pakistani film-maker came to do post in India. Had a very tough time in one of the post facilities here in Mumbai. Like they said his EDL didn't open. Then it opened but didn't match. His files were corrupt. He had the wrong format disk etc etc.</div>
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But he quietly put up with it thinking they were rough on him because he was a Pakistani! </div>
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But they do exactly all this to Indians too.</div>
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October 28 at 8:07am</div>
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If you want to shoot 4k on a budget, and don't mind 16mm depth of field the Sony PXW-Z100...</div>
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http://pro.sony.com/bbsc/ssr/micro-xdcam/resource.latest.bbsccms-assets-micro-xdcam-latest-pxwz100.shtml</div>
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$ 6350 or under Rs 4.5 lakhs with duty</div>
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October 24 at 10:25pm</div>
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One of the few people in the world who have actually used the new MacPro...</div>
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http://9to5mac.com/2013/10/22/interview-with-photographer-lucas-gilman-one-of-the-only-pros-already-using-apples-next-gen-mac-pro/</div>
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October 24 at 10:22pm</div>
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MacBook Pro 15" retina old vs new</div>
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Old - 2.7 GHz quad i7, 16 GB 1600 MHz RAM, 512 GB SSD, GT650M 1GB VRAM, TBolt</div>
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$2800</div>
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New - 2.3 GHz quad i7, 16 GB 1600 MHz RAM, 512 GB SSD, GT750M 2GB VRAM, TBolt 2</div>
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$2600</div>
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So, new MBP 15" has a slower but newer Haswell CPU, better graphics, better battery life, Thunderbolt 2, new iLife and iWork free, and will cost about Rs 13,000 less. Should be about Rs 1,65,000.</div>
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But the older one, if available for a bargain price is still a good buy.</div>
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October 23, 2013 at 5:36pm </div>
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Anyone running FCP 7 on the new Mavericks OSX 10.9?</div>
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Will 10.9 be the OS that finally causes FCP 7 to stop working? Is it possible to install FCP 7 on a new Mavericks-installed Mac?</div>
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October 23 at 5:15pm</div>
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Sourya Sen Upgraded from Mountain Lion to Mavericks (with FCP already installed) and it seems to work fine at the moment. Don't know about installing FCP on Mavericks.</div>
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October 23, 2013 at 5:17pm · Like</div>
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Jay Dantara Will update on installation.</div>
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October 23 at 5:20pm</div>
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P.v. Ram Prasaanth so far no probs. but Avid applications seems to be facing some probs http://www.pro-tools-expert.com/.../avid-warn-not-to...</div>
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Avid Warn Not To Upgrade To OS X 10.9 Mavericks - News - Pro Tools Expert</div>
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October 23 at 5:25pm</div>
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MacOSX 10.9 Mavericks will be available from today. Free. At the App store.</div>
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If you use FCP 7, wait a bit before upgrading as 10.9 may or may not let FCP 7 work.</div>
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October 23 at 12:45am</div>
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Sid Meer http://www.toolfarm.com/.../news_a_caution_to_fcp_7_users</div>
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Toolfarm.com :: News: A Caution to FCP 7 Users</div>
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October 23, 2013 at 1:02am</div>
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P.v. Ram Prasaanth oh shit !! its too late now !</div>
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October 23, 2013 at 2:19pm</div>
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P.v. Ram Prasaanth then I will have to rely on Avid 7, FCP 7 to Avid 7.</div>
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October 23, 2013 at 2:23pm</div>
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P.v. Ram Prasaanth okey now. Just tried it out, FCP 7 works on Mavericks !!!</div>
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October 23 at 2:29pm 3</div>
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Sourya Sen Working fine on Mavericks.</div>
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October 23 at 3:04pm 1</div>
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Apple Store is down.</div>
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Means new products are expected. An event in SF at 10.30pm India time may see new iPad, iPad retina, possibly new MacBook Pros and even a new MacPro specs revealed. Live telecast on Apple's site and on Apple TV.</div>
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October 22 at 9:15pm</div>
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Utsab Bandopadhyay</div>
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I was recently on a shoot where I had to edit a film on location shot on digital format on Arri Alexa which included some songs and patch shots. I was shocked that no one asked me the roll numbers and directly went on shooting fresh from roll no. 001. The DIT simply copied the rush/data onto the drives to the editor. Late enough to notify the error so I hope the heaven saves the clips as I think the clips and the time codes will match with duplicated roll nos. and there will be a heavy duty trans-coding or camera meta data will come to the rescue. What say ?</div>
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October 22 at 4:03pm</div>
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Neil Sadwelkar Arre, give them my contact. If everyone did everything right with digital, how will I make money?</div>
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October 22 at 7:24pm 9</div>
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Utsab Bandopadhyay Roger that Sir..! </div>
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October 22 at 8:00pm via mobile</div>
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'Sulemani Keeda' showing at 5.45pm at Cinemax this evening. I'm going to be there in case anyone is dying to know, and has questions about the post-production of this film. Otherwise, just come and enjoy a sincere effort.</div>
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October 21 at 5:15pm</div>
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Jay Dantara Bahut chalaak hain sir cinemax kaunsa area nahi bataye.</div>
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October 22 at 2:40am via mobile</div>
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Neil Sadwelkar Abbe MAMI sirf Versova Cinemax mein chal raha hai. Industry se sanyaas liya kya tu?</div>
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October 22 at 7:25pm 1</div>
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Time lapse shots are finding their way in more and more Hindi movies now. People shoot these as RAW stills in a DSLR like a Canon 5D, 7D, Nikon or some such. </div>
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There's a confusing workflow for getting these into edit first, and then rematching them for DI. If there are just a couple of shots, then eye-matching works. </div>
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But if you have many of them, and have slowed or speeded them in the edit, then things get interesting. Just finished automating this for two movies.</div>
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October 21 at 1:51pm</div>
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Sameer Shaikh I even used them in with 35mm in some projects... thanks to you:-)</div>
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October 21 at 2:00pm via mobile</div>
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Darpan Ashokrao Salunkhe I could find out some of them In "Bhag Milkha Bhag"...Gr8 to find sloutions...Really it just Unnecessary speed breakers...</div>
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October 21 at 2:05pm</div>
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When I see the time spent - between the Director and the DoP - in making and taking great shots for a movie - I feel really bad, knowing that all of this stuff is going to be one day erased and lost forever. </div>
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After the release, and when the production need hard disks for the next movie, they reuse drives. Even shots from the 'Oscar hopefuls' have likely all been erased.</div>
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Except a handful of movie companies, no one has a long term data plan. Not because it costs big money to implement, but simply because they lack vision. </div>
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Need a plan? Contact me.</div>
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October 21 at 11:09am</div>
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Aditya Warrior NICE!!</div>
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October 21 at 11:37am</div>
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Anyone see this before...</div>
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Digital shoot. MPEG Streamclip used for transcode. All original timecode lost. EDL cannot reconnect. What to do next?</div>
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Rematch each shot one by one...</div>
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Or...? Inbox me for an easy solution. For a small fee.</div>
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Rematching/re-editing is, of course, free.</div>
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October 19 at 10:09pm</div>
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See where our films have reached...</div>
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http://provideocoalition.com/pvcexclusive/story/the-art-and-science-of-vfx-in-films</div>
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The Art and Science of VFX in Films</div>
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October 18 at 12:01am</div>
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Shrirang Nargund</div>
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Previously there were picture tube monitors, now there are LED, LCDs etc. In PT monitors or TVs edges of picture tube are covered with the cabinet so the portion of frame is cropped automatically. Similarly the cameras also are having safety frame grid in the view finder but it captures the full frame. The same full frame captured by our non linear editing system. Now would like to ask, after editing, does that frame output should be cropped while taking the output on DVD or tape or any digital medium? If yes, how much?</div>
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October 16 at 12:19pm</div>
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Neil Sadwelkar No.</div>
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October 16 at 11:32pm via mobile</div>
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Shrirang Nargund thanks Neil</div>
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October 17 at 6:57pm</div>
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'Sunglass' by Rituparno Ghosh is playing at MAMI this year. Many years ago, I edited this film. Didn't get a chance to find out from Rituda whether he used the edit or not. </div>
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Heard later that I wasn't the only editor, so not sure if my edit was the one that went through. But good to know it got completed and someone will watch it.</div>
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October 17 at 3:17pm</div>
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All playing at MAMI, at theatre near you. </div>
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'Faith Connections' - Metro 21 Oct 3.30pm, Cinemax 22 Oct 5.45pm</div>
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'Crossing Bridges' - Metro 23 Oct 5.30pm, Cinemax 24 Oct 12.45pm </div>
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'Sulemani Keeda' - Metro 20 Oct 3.00pm, Cinemax 21 Oct 5.45pm</div>
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And all three colour graded on DaVinci Resolve at Post BlackBox. </div>
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Watch them to see what a bit of color correction can do to an indie film.</div>
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October 17 at 3:13pm</div>
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150 hours footage all on DSLR - H.264 mov. </div>
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The drudgery of converting before FCP edit. </div>
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The "don't want to learn 'new' interface" of Avid. </div>
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"Can't understand" of FCP X. </div>
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So?</div>
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Put up with FCP 7 ? I ask the 23 year old.</div>
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She promises to look at my Premiere Pro advice. Rs 2,700 per month seemed to be attractive. And no transcode, just edit too.</div>
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October 17 at 9:50am</div>
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Robin D'Cruz adobe is the only one actually coming out with support as soon as the camera is out..</div>
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October 17 at 3:09pm</div>
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The entire MAMI schedule here...</div>
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To find a film just open this pdf and do a search within it</div>
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http://www.mumbaifilmfest.org/app/downloads/screening_schedule.pdf</div>
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http://www.mumbaifilmfest.org/app/downloads/screening_schedule.pdf</div>
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www.mumbaifilmfest.org</div>
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October 17 at 3:07pm</div>
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Adobe India is giving away a Flipkart gift card if you join Creative Cloud now...</div>
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Join Creative cloud means a membership of Rs 2,700 per month to use any or all Adobe's software simply by downloading them. Or Rs 1,000 per month if you want only one software -for e.g.. Photoshop, Premiere Pro, After Effects, anything.</div>
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http://www.adobe.com/in/campaigns/flipkart-offer.html?sdid=KISUK</div>
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Flipkart e-Gift voucher, Creative Cloud offer | Adobe India</div>
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www.adobe.com</div>
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Hop on the Creative Cloud bandwagon and get a Flipkart e-Gift voucher. Offer valid 15 - 21 October 2013. Conditions apply</div>
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October 17 at 10:15am</div>
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Aditya Warrior I think premier pro is superb</div>
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October 17 at 10:50am via mobile</div>
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DaVinci Resolve 10 is now available as a public beta.</div>
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If you have no clue what DaVinci Resolve is, and believe its Dan Brown's sequel, then forget about it.</div>
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September 14 at 2:58am</div>
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Vivian Pimenta Amazing! Resolve 10,(along with plugin) can export a DCP.</div>
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October 11 at 10:13am 1</div>
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There's no such thing as DI when you shoot with a digital camera - Red, Alexa, F65, Canon whatever. Because there's no intermediate stage. And everything is digital anyway. 'DI' is for film.</div>
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October 9 at 9:19am</div>
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Rishabh Rastogi this should be taught to all the new cinematographers, they keep on asking for DI in the post, evn aftr a 5d shoot </div>
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October 9, 2013 at 10:37am</div>
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Aditya Warrior I guess DI has now become a term for grading. Thats how most people use it. This tech corner of yours is a great eye opener for many including me. Thanks</div>
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October 9, 2013 at 11:47am</div>
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Sameer Shaikh one more misunderstanding like 24/25fps your pointed out last time..... and like directors still shout "Roll camera "even if there is no film rolling in camera </div>
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October 9, 2013 at 12:14pm</div>
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Anil Chaudhary color correction/grading was a core part traditional DI of film. I guess that's the reason of this misunderstanding. When a cinematographer is asking for a DI of digital he means coloring. And yes coloring may be needed for 5D or any other DSLR footage. Depends on the look you want.</div>
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October 9 at 7:36pm</div>
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Vivian Pimenta DI...ed</div>
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October 11 at 10:11am 1</div>
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This has to be one of the most hilarious public reversals of technical opinion...</div>
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http://www.techhive.com/article/2053200/qualcomm-backtracks-from-apple-a7-marketing-gimmick-comments.html</div>
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Qualcomm backtracks from Apple A7 marketing gimmick comments | Macworld</div>
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October 10 at 1:37am</div>
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OMG. </div>
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Is there anyone around who remembers MacPaint. On a MacSE? </div>
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It ran from a floppy. In an era when PCs had only a DOS prompt. </div>
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Is there anyone who even has heard these names?</div>
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Well then, enjoy the nostalgia here...</div>
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http://www.cloudpaint.com/client/index.php</div>
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cloudpaint.com</div>
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www.cloudpaint.com</div>
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October 10 at 1:24am</div>
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Sameer Shaikh it's running on android ...amazing!</div>
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October 10 at 1:34am via mobile</div>
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'Rush' was shot on an Alexa with, no not Master Primes, but Bausch and Lomb lenses, yes, these lenses</div>
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http://www.radiantimages.com/lenses/35mm-pl-prime/baltars</div>
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BALTARS - Radiant Images | Los Angeles, CA</div>
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October 9 at 11:52pm</div>
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Came across this when browsing. An all-new editing platform. Windoze based at the moment but Mac version in Nov...</div>
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http://hitfilm.com/</div>
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HitFilm – cutting edge video editing and visual effects software - HitFilm.com</div>
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hitfilm.com</div>
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Visual effects. Compositing. Video editing. No compromises.</div>
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October 5 at 3:21pm</div>
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Neil Sadwelkar It seems to be a spin-off from Sony Vegas as their site features it too...</div>
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http://www.sonycreativesoftware.com/hitfilmultimate</div>
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Partner Products: HitFilm Ultimate 2</div>
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www.sonycreativesoftware.com</div>
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October 5 at 3:24pm</div>
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Megg Magika thanks for the share...</div>
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October 5 at 4:31pm</div>
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Just in case you've got a new iPhone 5C or 5S and are dying for some tips on using it better...</div>
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http://www.apple.com/iphone-5s/tips/</div>
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Apple - iPhone 5s - Tips and Tricks</div>
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October 5 at 2:15am</div>
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FCP 7 shows the "Error out of Memory" or "General Error" window when rendering or exporting. Why?</div>
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Check if there's something (mov/picture) which is over 4096 pixels width or height. If there is, then in Preview or Photoshop scale it down to 72 dpi and anything less than 4000 pixels. Replace. Then try again.</div>
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Works, no?</div>
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October 4 at 10:20am</div>
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Aditya Warrior</div>
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Will the 24 & 25 fps issue come to an end?</div>
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October 2 at 6:19pm</div>
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Neil Sadwelkar With digital shooting, and digital release, it should have been a non-issue. But many are still keeping it alive. Out of ignorance and resistance and fear of change, mostly.</div>
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October 3, 2013 at 10:31am</div>
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Neil Sadwelkar With digital shooting, and digital release, it should have been a non-issue. But many are still keeping it alive. Out of ignorance and resistance and fear of change, mostly.</div>
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October 3, 2013 at 10:38am</div>
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Aditya Warrior True. The worst was when i saw a movie on tv and it was converted audio & video to 25. IT ran. i was aghast as i had heard it all the while right and this was just racing. Wonder how no one realised it. But what about the single screens that still run movie projectors? Also now can i shoot at 25 and project at 25?</div>
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October 3, 2013 at 10:42am</div>
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Neil Sadwelkar Just posted on this on my blog for the ignorants.</div>
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October 3, 2013 at 10:48am</div>
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Aditya Warrior cool</div>
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October 3 at 10:49am</div>
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Neil Sadwelkar Aditya Warrior when we make masters for movies for EU and UK, we routinely run them 4% fast to make them 25fps. In fact all over the western world 24fps film is made to 25fps video by speeding up. No one complains because they correct pitch, but they d...</div>
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October 3 at 10:51am 3</div>
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For those who are still confused, still in the dark, still going at 25...</div>
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http://neilsadwelkar.blogspot.in/2013/10/24-25-fps-in-digital-age.html</div>
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October 3 at 10:47am</div>
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Sameer Shaikh good to read all this....another confusion among AWARD winning sound recordists is Audio sample rate...44.1 or 48 .....can you elaborated on that please.</div>
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October 3 at 12:12pm via mobile</div>
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Amitabh Shukla Yes yes yes!!!!!</div>
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October 3 at 1:28pm via mobile</div>
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There's so such thing as a 24fps EDL. Show me where, in the EDL it says 24fps.</div>
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October 3 at 10:55am</div>
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The new iPhone 5s TouchID or fingerprint sensor explained in common language...</div>
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http://www.tuaw.com/2013/09/22/iphone-5s-fingerprint-sensor-gets-completely-misunderstood/</div>
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and no, your cat can't unlock your (or anyone else's iPhone)</div>
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iPhone 5s fingerprint sensor gets completely misunderstood</div>
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October 1 at 1:15am</div>
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Apple announces and ships a whole new line up of iMacs. </div>
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Faster CPUs, faster GPUs, Haswell chips, rest all the same.</div>
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And, I just bought a new iMac... yesterday. It's already outdated.</div>
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September 25 at 8:49am</div>
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This might be a better surface. And maybe a better Win portable. </div>
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http://arstechnica.com/gadgets/2013/09/microsofts-hardware-round-2-surface-2-and-surface-pro-2/</div>
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September 24 at 4:59pm near Khar</div>
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1 share</div>
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Day 1 at IBC 2013, Amsterdam, where the post-production world goes on an annual pilgrimage...</div>
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FCP 7 is all but dead, Avid making a slow comeback, Adobe Premiere Pro beginning to show its colours...</div>
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And, this year it's 4k everywhere. </div>
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Just like 3D was, just 2 years ago. 3D has all but vanished, lets see how 4k comes up.</div>
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September 14 at 2:40am near Juhu</div>
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1 share</div>
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Utsab Bandopadhyay I am hoping for NHK's 8K TV @125 fps per a second with Ultra Definition (UD) to be the new norm in the industry.</div>
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September 14 at 10:05am</div>
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OK folks, so are you 'done with' the Alexa yet? </div>
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Small budget, can't afford an Alexa, yet want that quality?</div>
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Welcome the Arri Amira, Alexa's little sister.</div>
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2k, up to 200 fps, large sensor same as Alexa, records ProRes to CFast cards (like CF cards), and a price that some say will make you want to rethink buying a Canon C500 or Sony F5. Unless you have to have 4k. Because both the Arri girls - alexa and Amira - still don't do anywhere near 4k.</div>
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http://provideocoalition.com/dcarr/story/arri-amira-unveiled</div>
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ARRI Unveils New AMIRA Camera At IBC</div>
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September 14 at 2:56am</div>
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'Investment' in Marathi, releasing in a few theaters, not necessarily near you. </div>
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But please make the journey. </div>
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So all of you who clamour for a better cinema, who express dismay at the studio-multiplex nexus, who lament the lack of good post-production facilities for independent Indian cinema, and who feel despondent about regional cinema, particularly Marathi Cinema - from where incidentally this whole '100 years of Indian Cinema' thing began - go find where 'Investment' is running and watch it.</div>
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Whether you end up liking it or not, you will have voted with your wallet and made a promise that sensible cinema that is a mirror to society will continue to live. Else, you'll have to watch 'lungi dance, lungi dance' for the rest of your sad lives.</div>
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INVESTMENT</div>
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My film, our film ‘Investment ‘ is releasing on September 20th, a week from now. </div>
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It’s not a studio giant, but a small film made by my family and friends. It is written, directed by my father Ratnakar Matkari, who most of you know well through his writing and plays. It is his feature debut in the 74’th year of his age. It is co directed by yours truly.</div>
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The film has seen many festivals and has won the national award for the best Marathi feature film. To be honest, we were expecting that at that point, someone would come forward to support the film, mainly in terms of infrastructure, which we don’t have. Still, the films are made to find their audience, not just to attend the festivals, or win awards. So in an attempt to find the larger audience we know is out there, we are releasing the film in theatres. It’s a modest release, but a necessary step.</div>
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What we need for it’s success is a word of mouth and support on social media. I am therefore requesting all my fb friends to spread the word around. Feel free to share anything from my page, in fact I would encourage it. </div>
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We have about a week to go. I hope we can pull this off.</div>
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Length: 0:32</div>
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September 13 at 8:28pm</div>
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For helping us appreciate music with out noise in the analog days,</div>
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for adding another dimension and direction to sound, and helping us appreciate silence as... silence,</div>
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for helping create a system that could record video on to magnetic tape (VTR or VCR), </div>
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for devising a method for billions of people to enjoy visuals with immersive sound in theatres</div>
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and for many other technical achievements, every 'sound' person will be forever indebted to Ray Dolby....</div>
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Sound pioneer Ray Dolby of Dolby Laboratories dies at 80</div>
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www.latimes.com</div>
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Ray Dolby, the inventor and engineer who founded Dolby Laboratories and pioneered noise-reducing and surround-sound technology widely used in the film and recording industries, has died in San Francisco at 80, the company announced Thursday.</div>
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September 13 at 9:49am</div>
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Mon Ty I met him last year in LA. He seemed in pretty good shape then. Great man. RIP</div>
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September 13 at 11:31am</div>
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iPhone 5s unlocked US$650 (16GB), $750 (32GB), $850 (64GB)</div>
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and </div>
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iPhone 5c unlocked US$550 (16GB), $650 (32GB)</div>
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and iPhone 4s unlocked US$ 450 (8GB only)</div>
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September 11 at 1:18am</div>
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Bindi Mehta Will India follow these prices or will they be higher? Also any idea when they will be available here?</div>
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September 11 at 12:28pm</div>
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If the dollar behaves, then the iPhone 5C will cost less than the iPhone 4S does now. And even the iPhone 5S will cost much less than the existing iPhone 5.</div>
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And Apple will come with a huge marketing blitz, but not before late Sept/Oct. Till then, the black market will make a killing.</div>
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September 11 at 10:11am</div>
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The fact that even Apple cannot innovate beyond what they showed yesterday, makes it clear than leaping developments in the mobile phone are hard to come by. </div>
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Let's wait and see what iOS7, 64-bit, and the motion co-processor really mean in actual use.</div>
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September 11 at 8:53am</div>
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iPhone 5C still 4"</div>
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September 10 at 11:57pm</div>
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From theverge.com live right now</div>
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http://d35lb3dl296zwu.cloudfront.net/uploads/photo/image/13888/LB_8018.jpg</div>
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d35lb3dl296zwu.cloudfront.net</div>
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September 10 at 11:55pm</div>
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iPhone 5C officially unveiled - in 5 colors</div>
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September 10 at 11:55pm</div>
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iOS to be launched Sept 18. Will work on iPhone 4 and up, iPad 2 and up.</div>
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iWork will now be free with any new iOS device - Pages, Numbers, Keynote, iPhoto, iMovie - all free.</div>
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September 10 at 11:52pm</div>
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P.v. Ram Prasaanth Woooowww thats amazing !</div>
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September 10 at 11:53pm</div>
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The new iPhone - rumoured, speculated...</div>
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http://neilsadwelkar.blogspot.in/2013/08/a-new-iphone-sept-2013.html</div>
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Neil Sadwelkar's musings on Digital: A new iPhone - Sept 2013</div>
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August 23 at 1:09pm</div>
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Ashok Va Here are the 10 things I expect...</div>
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1. 60 FPS camera (am sure it is coming)</div>
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2. Better lens</div>
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3. Free iCloud backup to the extent of your device storage. Will ensure the customers will feel safe that their stuff is backed up. Most of us don't do it (including me).</div>
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4. Better security (fingerprint scanner)</div>
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5. Better inter app communication</div>
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6. More stable iCloud</div>
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7. Better inter Apple device communication (laptops, iMacs etc). Maybe Airdrop is that solution.</div>
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8. 5C will help them break into market segments where volumes matter.</div>
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9. Cooler experience with iOS 7</div>
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10. Cool colours for the iPhone</div>
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August 23, 2013 at 3:20pm</div>
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Utsab Bandopadhyay Introducing the iPhone 5S http://www.youtube.com/watch?v=1sIWez9HAbA#t=150</div>
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September 8 at 12:50am</div>
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P.v. Ram Prasaanth iphone 5C, C for "cheap" sounds a lil cheap </div>
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September 10 at 11:48pm</div>
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Another 15 mins to go for Apple's Sept 10 event where probably a new iPhone may get shown. </div>
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10.30 pm India time tonight 10 Sep '13</div>
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September 10 at 11:10pm</div>
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Prashanth Ramachandran Lot of expectations </div>
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September 10, 2013 at 11:16pm</div>
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Jay Dantara link to the page to view it live?</div>
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September 10, 2013 at 11:21pm</div>
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P.v. Ram Prasaanth can anyone pass live streaming link pls</div>
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September 10 at 11:34pm</div>
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Jay Dantara I don't think there is one.</div>
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September 10 at 11:43pm via mobile</div>
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Here's a camera that sticks to your phone, or works separately too. </div>
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http://gigaom.com/2013/09/04/hands-on-with-sonys-qx10-and-qx100-lens-cameras/</div>
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Hands on with Sony’s QX10 and QX100 lens cameras for iPhone and Android</div>
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gigaom.com</div>
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The QX10 and QX100 are “lens-style” cameras that clip onto your Android or iOS smartphone. Are they glorified accessories or full-fledged digital camera replacements?</div>
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September 6 at 8:15pm</div>
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For once, a handycam that records high quality sound. A sound recording machine that also records video. Great for Interviews as a second camera.</div>
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http://www.engadget.com/2013/09/04/sony-hdr-mv1-music-video-recorder/</div>
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Sony's HDR-MV1 Music Video Recorder helps your band break out of the garage, into YouTube</div>
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September 6 at 5:05pm</div>
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Viral Thakkar</div>
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Happy Teachers Day Neil Sadwelkar. Thank you for all your informative posts and teachings.</div>
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September 5 at 1:29pm</div>
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This likely to be the weirdest tech story of a product name... </div>
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http://m.bbc.co.uk/news/technology-23926938</div>
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September 4 at 12:36pm near Khar</div>
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1 share</div>
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And, for the next Govt in power in India in 2014, please make loss of timecode during transcode a cognizable offense punishable with at least 3 years in prison and fine.</div>
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September 3 at 9:08pm</div>
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Vedansh Pandey Sir you must start a Centre For Film Technology. This will really help our country to make efficient use of technology to produce technically superior films and also help in the preservation of national archives. It will be a great service to the country which is otherwise not realizing the real worth of digital archives.</div>
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September 3 at 9:54pm 1</div>
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Amitabh Shukla Hahaha. Spoken like a true post person!!!</div>
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September 4 at 11:28am via mobile</div>
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To the next Govt at the centre, I am also campaigning </div>
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a separate head of service tax called 'editing and post production services'. There's now a heading for video and video production, and another for sound recording, but none for editing. </div>
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Does the Govt believe it simply comes out of the camera and gets put in a theatre or on TV?</div>
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September 4 at 10:42am</div>
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Whoever comes to power in 2014, I'm petitioning for a ban on TGA sequences.</div>
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September 3 at 7:57pm</div>
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Jay Dantara LOL</div>
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September 3 at 8:00pm</div>
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Ashish Heblekar Neil Sadwelkar FOR PM!!</div>
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September 3 at 8:18pm 3</div>
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Now this is going to be interesting...</div>
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http://www.theverge.com/2013/9/2/4688530/microsoft-buys-nokias-devices-and-services-unit-unites-windows-phone</div>
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Microsoft buys Nokia's Devices and Services Unit, unites Windows Phone 8 and its hardware maker</div>
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www.theverge.com</div>
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One of the most enticing "what-ifs" of recent years has come true: Microsoft has purchased Nokia's Devices and Services unit, it announced today. It unites Windows Phone 8 with its biggest hardware...</div>
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September 3 at 11:38am</div>
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Even if you only use Photoshop and/or After Effects, getting the Creative Cloud at Rs 2,700 per month is a no-brainer. Pay once and its debited to your card every month. Like buying software with an EMI.</div>
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You won't even feel it.</div>
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And you can download and use any of the CC apps any time</div>
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And you can install on up to two machines belonging to you.</div>
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Photoshop, Illustrator, InDesign, Dreamweaver, After Effects, Adobe Premiere Pro, Adobe Muse</div>
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Other apps like </div>
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Acrobat Pro, Adobe Audition, Bridge CC, Encore, Fireworks, Flash Builder, Flash Professional, Adobe InCopy, Lightroom, Media Encoder, Prelude, SpeedGrade</div>
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Edge Apps like</div>
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Edge Animate, Edge Inspect, Edge Web Fonts, PhoneGap Build, Edge Code, Edge Reflow, </div>
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Services like</div>
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Story, Kuler, Business Catalyst, Typekit, Behance, ProSite</div>
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Touch Apps like</div>
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Photoshop Touch, Kuler for iPhone, Ideas, Behance for iPhone, Creative Portfolio for iPhone</div>
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August 31 at 4:44pm</div>
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Exactly who is going to miss Adobe Fireworks? </div>
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Like, how many miss Encore now that it isn't in Adobe CC?</div>
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August 31 at 2:50pm</div>
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Microsoft has had the privilege of having the right good idea, but also the curse of having it at the wrong time. Either too early, or too late.</div>
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Pocket PC too early, Windows mobile with stylus, pre touch. Windows tablet, too slow, Windows Kin, pre-social media explosion, Windows phone, too late. Windows surface, again too late. </div>
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And now, the right CEO.</div>
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August 31 at 11:06am</div>
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All those of you still stuck to 7, or exploring Prem Pro, or Avid, or have tried out Prem Pro or Avid and are back to 7, X at 10.0.9 is worth taking a new look at, or, just wait for 10.1</div>
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http://www.macworld.co.uk/macsoftware/news/?newsid=3466448</div>
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Final Cut Pro X 10.1: the features video pros want - Mac software - Macworld UK</div>
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www.macworld.co.uk</div>
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We know that Apple is working on an update to Final Cut Pro X – Apple's head of worldwide marketing Phil Shiller admitted as much in the WWDC keynote back in June. We've asked professional video pros and members of a Facebook group about Final Cut Pro to share their wishlist of the new Final Cut Pro...</div>
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August 31 at 10:41am</div>
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The new Apple MacPro...</div>
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http://www.youtube.com/watch?v=wShNx6cdk_8&feature=youtu.be</div>
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My New Mac Pro [2013]</div>
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www.youtube.com</div>
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The day Aaron received the first 2013 Mac Pro. We were there when Aaron received his new 2013 Mac Pro. We were also there when his girlfriend, family, and fr...</div>
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August 29 at 4:28pm</div>
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If you have an iCloud account log on to www.icloud.com.</div>
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Pages, Numbers, Keynote for free in the cloud from any device. </div>
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Who needs Google Docs.</div>
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iCloud</div>
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www.icloud.com</div>
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Store contacts, calendars, photos, music, books, apps and more in the cloud and access them on all your devices.</div>
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August 24 at 12:20pm</div>
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At approx Rs 13,000 per 400ft roll and exposing about 7 rolls (28 mins) a day for 60 days, feature films used to spend about 55 lakhs on film and processing alone.</div>
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Now, shooting digitally, and shooting even 60 mins a day for 60 days costs only Rs 6 lakhs for hard disks even if you make copies to two separate hard disks. </div>
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I meet film producers every day who find that costly.</div>
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August 20 at 1:59pm</div>
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Meghna Ashchitr Producers are FUNNY creatures </div>
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August 20, 2013 at 2:03pm</div>
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Bhavesh A Patil N...Still their are many Producer who Wants to record on 5K but can't afford Hard Drive .....</div>
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August 20, 2013 at 3:32pm</div>
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Neil Sadwelkar Bhavesh A Patil 5k, 4k, 2k doesn't make a difference. </div>
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Figures I mentioned are for Red Epic 5k. 60 days, 60 hours, 6 lakhs. </div>
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Too expensive even for producers with Salman as the lead actor. </div>
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6 lakhs for 60 hours (raw 5k) footage with Salman in most of it. It's like 0.01% of the movie's budget.</div>
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August 20, 2013 at 3:39pm</div>
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Bhavesh A Patil Ya its Bollywood </div>
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hope …Doing movies on 70th and 80th theme …</div>
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had also made their mind to set on paisa not on rupees .....See More</div>
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August 20, 2013 at 4:14pm</div>
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Jay Dantara lol</div>
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August 21, 2013 at 2:25am</div>
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And he made a difference...</div>
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http://www.reduser.net/forum/showthread.php?104367-My-Final-Post</div>
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My Final Post....</div>
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www.reduser.net</div>
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I have said before... I'm tired. I really am. I started Oakley with $300 and then proceeded to put over 5,000 people to work in California. Against all odds, we passed RayBan in worldwide sales in 1996. I am so proud of what we accomplished at Oakley. Inventions wrapped in art. Thermonuclear Protect...</div>
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August 20 at 9:16am</div>
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Anil Chaudhary Absolutely!!!</div>
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August 20 at 3:56pm</div>
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The Sony FS700, F3, and FS100 all great cams, and true video cams. Make for really good B cams, compared to DSLRs.</div>
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August 16 at 1:09am via mobile</div>
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Pranay Garodia what about A cam?</div>
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August 16 at 2:00am</div>
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Neil Sadwelkar Sure Pranay Garodia these are great A cams too.</div>
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August 16 at 8:20pm</div>
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There is hearsay doing the rounds that the 'new' Alexa XT is 4k. That it shoots 4k. This is not numerically true. </div>
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The Alexa XT, just like earlier Alexa cameras shoots a picture that's a maximum size of 2880x1620 pixels. So, in 'K's' this can be termed 2.8k. </div>
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Because of the Bayer pattern pixels used, the actual number of colour pixels is only 1440x810 pixels (Since it takes 3 pixels to make one colour pixel).</div>
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The Red Epic on the other hand makes images which are 5120x2560. This could be termed 5k. Once again, because of Bayer pattern pixels amounts to a colour image of 2560x1280.</div>
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The Sony F65, on the other hand has 8000 pixels across from which an image of 4096x2160 is created. This is true 4k colour.</div>
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Confused? </div>
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Just trust what you see on the screen. </div>
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If it looks good, shoot with that camera.</div>
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August 14 at 11:13pm</div>
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Jabeen Merchant What I find really funny is that the same people who get so impressed with all these 'K' numbers then want to use the Canon 5D as their B camera!</div>
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August 14, 2013 at 11:21pm</div>
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Anil Chaudhary In Bayer pattern four color pixels 'RGBG' make one color. Doesn't it?</div>
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August 15, 2013 at 5:00am</div>
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Neil Sadwelkar Yes Anil Chaudhary, which is why, in one line, 2 pixels participate to create one colour pixel.</div>
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August 16, 2013 at 1:07am</div>
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Sept 10. New iPhone... maybe</div>
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http://allthingsd.com/20130810/circle-sept-10-on-your-calendar-for-apples-big-iphone-event/</div>
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August 12 at 5:26am</div>
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Avid DS is now almost dead...</div>
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http://provideocoalition.com/ssimmons/story/it-looks-like-avid-is-finally-going-lay-ds-to-rest</div>
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A software ahead of its time, but didn't quite make it in India, even though it was cheaper than its main competitor - Smoke - it somehow failed to capture any significant market in India.</div>
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I hope dropping DS makes Avid stronger, and more focussed on Media Composer.</div>
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August 9 at 10:55am</div>
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This is not post-production. This is when it stops being post, where at least part of post is production. Interesting one take video.</div>
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http://player.vimeo.com/video/43125025</div>
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August 6 at 5:19am</div>
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In an ad for the new 'Shooter suite' software from Red Giant, there's a nice line in the video...</div>
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"Bring it back safe, sound, and in sync"</div>
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July 31 at 2:22am</div>
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Ashish Heblekar The 'Shooter Suite' looks interesting. Neil Sadwelkar Have you taken a test drive? waiting to hear your views on it.</div>
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July 31 at 1:10pm</div>
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One of those things I do...</div>
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http://www.youtube.com/watch?v=tsdWUBYuGuc&feature=c4-overview&list=UU6eUzyhWA_i6dTGnqVIjZkA</div>
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I have no idea where Part 1-4 are.</div>
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July 23 at 2:11pm</div>
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If you have a MacPro from 2009 or earlier, and you're trying to edit a full 100 min (or more) feature film shot on digital (Red/Alexa etc, and converted to HD ProRes), on FCP 7, then you're out of luck. </div>
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I've observed that generation of Mac computers was simply not designed to move files of that volume. So expect erratic performance, frequent crashes, projects unlinking by themselves, etc etc.</div>
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Time to move on to something else - Premiere Pro, Avid Media Composer, or FCP X. And time to stop cribbing. Apple will not support FCP 7, nor answer your complaints.</div>
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You need help setting up and running these alternatives, 'inbox me'.</div>
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July 23 at 10:43am</div>
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Focus redefined, reimagined.</div>
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http://www.dpreview.com/news/2013/07/03/canon-videos-show-70d-focusing</div>
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Canon videos showcase 70D's innovative AF system: Digital Photography Review</div>
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July 19 at 11:03pm</div>
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This is such a fake issue. </div>
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I mean, banks, insurance companies, hospitals, air traffic control, telecom companies, all of these guys have huge amounts of digital data. But still they manage to save it, or have to save it for decades, data that's more critical than the movies. </div>
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Films are mostly culture and entertainment, and data from them, is not live-saving nor life-threatening. </div>
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Its time the media business looked around. There really is a world outside the movies. And, its been digital for a while now. You guys are late to the party. Enjoy.</div>
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http://www.nytimes.com/2007/12/23/business/media/23steal.html?_r=3&pagewanted=all</div>
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July 18 at 5:27pm</div>
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Amitabh Shukla Film is an asset like any other. Needs to be looked after and cared for in the same manner. For many, it's a cash cow - a golden goose that will lay an egg every few years. For others it's a piece of art, to be cherished for time to come. Needs a lot of passion to hang on to old stuff in the face Of mounting costs, hopefully there will a few people who will actually think about it.</div>
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July 18, 2013 at 5:50pm</div>
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Vedansh Pandey But sir my question is why do we want to hang onto old stuff? I think its the government's job. Why is that film is important and not the movie? Clearly it is the case of medium becoming the message. Film manufacturers became bankrupt because they spent all their money on propaganda. Probably they would have survived more if they would've worked for the betterment of stock and made it much more cheaper . Why aren't we doing objective analysis? One's nostalgia shouldn't stop medium from developing if that is the case. I will use a film camera when I am doing photography as a hobby but probably not when the producer's money is involved!</div>
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July 19, 2013 at 12:00am</div>
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Neil Sadwelkar Film died because the people that made it got lazy, and greedy. By the time they figured it out it was too late. Storing digital is costly, or not, depending on the value of what's being stored. </div>
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If what you're storing has a low value, and you want storage for cheap, or better still, for free, then you take your chances.</div>
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July 19, 2013 at 12:04am</div>
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Neil Sadwelkar Is what I tell any producer who approaches me for a 'perfect method' of storing his digital movie - rushes to final. I'm about to set up one such 'good, nearly ideal, but not perfect' method for one of India's largest film production facilities. </div>
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If they go with it, I hope to make it an example. If they don't go with it, I'll wait for 5 years and then make that an example.</div>
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July 19, 2013 at 12:06am</div>
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Amitabh Shukla Great reading - http://savestarwars.com/filmpreservation.html</div>
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July 19, 2013 at 12:52am</div>
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Neil Sadwelkar Yes it is. But in India, we gave up the 'Inter' stage sometime in the nineties. We simply ran the cut neg to make prints. So, in our case the cut neg is probably all we have, of films from about 1980 onwards. (I could be wrong on the year). But definitely from 1995 or so, Inter was not used widely.</div>
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July 19, 2013 at 12:59am</div>
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Jay Dantara Vedansh Are you quoting Marshall Mcluhan ... "Medium is message" ? In any case, I think initial investment might be a big one but thats for all media isn't it? I bet film costs much more cause once it's been exposed it over. You could recycle your digital systems for as long as you need to.</div>
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July 19, 2013 at 12:58am</div>
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Vedansh Pandey Jay Thats what even I think! I'm for digital! I am not quoting him but actually criticizing him for putting the study of medium over message if you see the statement in that light. </div>
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July 19, 2013 at 1:26am</div>
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Jay Dantara Yeah his context was something else altogether </div>
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July 19, 2013 at 1:31am</div>
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Vedansh Pandey Just that. Film as a medium is quiet large. And I am not debating form over content but just arguing that romanticism for something undemocratic is unjust!</div>
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July 19, 2013 at 1:34am</div>
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Who needs RAM...</div>
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http://www.engadget.com/2013/07/18/samsung-enterprise-ssd-NVMe-XS1715/</div>
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Samsung announces 3,000MB/s enterprise SSD, shames competition</div>
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July 18 at 7:46pm</div>
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Apple releases Logic Pro X. Available now for $ 199 (Rs 11,500) at the App Store. </div>
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In depth...</div>
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http://www.apple.com/logic-pro/in-depth/</div>
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July 16 at 9:00pm</div>
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Who says sync sound can't be done on Mumbai streets. Watch NatGeo Adventure HD. The presenter is standing at various parts of Mumbai on the street talking to camera. We see no mikes in the frame, but we still hear him clearly. And even the people he speaks to. </div>
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Ban dubbing now.</div>
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July 13 at 12:17am</div>
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Blast from the past...</div>
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My page on FCP not updated since 2005...</div>
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http://www.sadwelkar.com/whatsFCP.htm</div>
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July 12 at 4:03pm</div>
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Post BlackBox is proud to be associated with Bhaag Milkha Bhaag.</div>
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What we did for the movie may not have contributed much in a creative sense, but we ensured that the movie existed and reached completion, by managing the digital data.</div>
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If anyone wants a data storage solution to store data as large as all the shots in Bhaag Milkha Bhaag (over 40,000 GB), let us know. We ensured not a single byte was lost in 1 year and 5 months - shoot to release. — with Sumeet Kamath and Sreeram Ramanathan.</div>
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July 12 at 10:40am</div>
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The new 13" MacBook Air has a PCIe SSD as its main drive. That thing does a whopping 700 MegaBytes per sec!! Faster than a million dollar RAID could do just 4 years ago. Now in a laptop near you.</div>
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July 10 at 11:51am</div>
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Stabilgo. The steadicam many GoPro shooters were waiting for. You could also a fix a point-and-shoot and get good results for a limited budget.</div>
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http://stabilgo.com/</div>
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July 7 at 9:58pm near Juhu</div>
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Some of the new colour space, and import features in Avid MC 7. </div>
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If you find these hard to understand, then think carefully before upgrading. Else, promise yourselves that you'll take the time to learn them. Because this is the first time Avid has made a concerted effort to correctly manage colours on imported files.</div>
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Avid is finally tapeless. Its time Avid editors got there too.</div>
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http://vimeo.com/69287063</div>
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Avid Media Composer 7 in 4 minutes</div>
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June 29 at 9:46am</div>
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25 new features in Avid Media Composer 7 (while mine - 3GB!! - is still downloading) </div>
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http://provideocoalition.com/ssimmons/story/avid-media-composer-7-ships.-heres-25-new-features</div>
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June 29 at 12:26am</div>
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Sameer Shaikh cool new features </div>
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June 29 at 1:31am via mobile</div>
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Some AMA plugins are still not ready for Avid MC 7. So if your edit depends on AMA of certain formats, please check the Avid Support Center for details.</div>
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Also, if your licence is of the support variety, then the MC 7 versioner for that isn't ready yet. Upgrading to MC 7 will convert your Avid into a 30 day trial.</div>
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This doesn't affect internet licensed Avid systems. </div>
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And of course, this is all valid only for paid licenses.</div>
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June 28 at 6:32pm</div>
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Avid Media Composer 7 is now available. One of the most significant upgrades to the age old Avid, this is one upgrade that will need editors to upgrade themselves too.</div>
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And if you are unable/unwilling to upgrade, and are hoping that film and DigiBeta will one day make a comeback, then please do yourselves a favour, and stay on MC 5. And wait.</div>
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http://www.avid.com/products/media-composer/overview</div>
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June 28 at 11:24am near Mumbai</div>
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Just met a 20 something editor who needed to do some sound match on an Avid. Let her use my Avid 6.5.2. She struggled for a bit and asked if I had a system with an earlier version because she was 'used to' ver 5.5, and didn't understand 'all these colours and new icons'.</div>
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What??</div>
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I mean, at 20-odd, don't you want all the latest toys?</div>
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June 26 at 9:39pm near Mumbai</div>
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Amitabh Shukla It happens Neil. Before avid put audio key frames in the old MC7, one did audio fade by putting an add-edit, setting a new clip level an then applying a dissolve over the cut to make it seem like a gentle fade. Shockingly I'm still seeing it a few timelines across studios. Very few people read the Read Me First! Smart Tool, another ignored value add in the new avids.</div>
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June 26, 2013 at 10:05pm</div>
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Amitabh Shukla Avid has been nice enough to retain all the old ways of doing things. Maybe that's what keep people in their comfort zone and doesn't make for the move to the new improved ways.</div>
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June 26 at 10:14pm via mobile</div>
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Sameer Shaikh it should not be a big problem actually switching from any version of avid from lower to higher (or vice-versa )...plus avid has completely customisable interface ... So if u don't like New things u can always customise and go back to old ways of worki...</div>
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June 27 at 1:32am via mobile</div>
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Got yet another project where the 'tape name' of converted Red files are missing digits. </div>
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Editors, please keep tabs on the 'tape name' or 'Reel name' in Avid or FCP. If names are half or missing, its going to affect your social life and private life during DI.</div>
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Of course, it can be 'fixed in post'.</div>
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June 26 at 11:46am near Mumbai</div>
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Sameer Shaikh I ask them to keep burn-in option on if Redone files r converted in Red Rushes....is it possible to do same whn Red epic/Red mx files converted in applications such as Redcine?</div>
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June 26, 2013 at 11:55am</div>
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Neil Sadwelkar Burn-in is fine, but if the converted file does not have the reel name embedded, but it shows in the burn-in, that doesn't help when conforming.</div>
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June 26, 2013 at 1:10pm</div>
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Sameer Shaikh oh I thought it shows in burn-in ONLY IF it is embedded just like orher data.. anyways will double check it in my projects. thanks... it would be gr8 if if other applications hv option of burn in like Red rushes has.</div>
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June 26, 2013 at 2:17pm</div>
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Sameer Shaikh what does these 2 analogue terms actually mean in digital world?.. are they some kind of names assigned by cam to folders in which Red files reside?</div>
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June 26, 2013 at 2:16pm</div>
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Neil Sadwelkar 'Tape name' or 'Reel name' actually mane no sense in the 'post-film' or 'post-tape' era. Actually they indicate 'source', which can be the folder where the file resides. It just adds another layer of uniqueness to files since there are only 24 hours of timecode.</div>
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June 26, 2013 at 2:18pm</div>
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Sameer Shaikh oh got it.. thank Neil as always it. was a gr8 help... </div>
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June 26, 2013 at 2:23pm</div>
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Jabeen Merchant</div>
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With Alexa footage, is it enough to get only the Apple ProRes 4444 files for editing? I mean, I don't need anything else to cut the film on my system, but are there not other files on the card - XMLs and so on - that are needed for other procedures down the line?</div>
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June 24 at 11:26am near Mumbai</div>
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Neil Sadwelkar Those XMLs carry camera data that's not embedded in the actual ProRes files so if you import the XMLs and relink to the ProRes files then that data is visible inside FCP. Colour temp, shutter angle, DoP-geek stuff.</div>
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ALE files are to enable embedded timecode inside Avid MC. But after AMA and FCP 5.5+, that's not necessary.</div>
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But, it's better to convert the log ProRes Alexa files to linear and smaller ProResLT or ProRes Proxy. ProRes4444 needs a rather fast HDD to play smoothly particularly in long sequences.</div>
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June 25, 2013 at 9:02am</div>
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Jabeen Merchant Thanks, Neil. Nobody so far has given me either XMLs or ALEs and when I asked, have been told that I don't need anything else. So I haven't been importing the metadata. Though I wouldn't mind doing it, I think it gives an editor a better grip on the entire post process. For the ProRes files, I agree that it's better to convert to smaller sizes for editing. But you know, there are so-called 'DITs' out there who know even less about this than me. Have been in a situation where the XMLs never got saved at all! Is it a total disaster if that happens for a feature film intended for proper release?</div>
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June 25, 2013 at 10:55am</div>
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Jabeen Merchant I'm no geek but this much is obvious even to me. When you use a data card on a camera, any camera small or big, you have to back up its contents in entirety. You do not open the sub folders and pull out some files while discarding others. There should be a way to make everyone follow this basic protocol!</div>
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June 25, 2013 at 11:09am</div>
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Amitabh Shukla Keeping a gun handy seems to do the trick </div>
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June 25, 2013 at 12:43pm</div>
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Neil Sadwelkar Actually if you import the XMLs into FCP and relink to ProRes files, and then go over columns in the browser, you'll find columns with information like colour temperature, shutter angle, ISO setting, and other camera parameters. </div>
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It's useful when one e...See More</div>
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June 25, 2013 at 11:38pm</div>
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Apple will soon discontinue the existing MacPro and sell the new MacPro by Sept or so. </div>
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Until than time, for editing and grading applications, an iMac i7 is currently the fastest Mac. The second fastest current Mac is the 15" MacBook Pro Retina.</div>
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June 18 at 9:32am near Mumbai</div>
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Sourya Sen The second is not he i5 Quad iMac?</div>
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June 20 at 6:44pm</div>
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Neil Sadwelkar Quad-core iMac i7 fastest, then quad-core i7 MBP retina. Existing MacPro 12 core works faster only in some tasks.</div>
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June 20 at 7:31pm</div>
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Adobe Creative Cloud. </div>
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I've jumped in...</div>
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June 19 at 6:22pm</div>
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Very soon, power users like graphic artists, photographers, editors, geeks, can carry a MacPro in hand luggage.</div>
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June 15 at 10:54am near Juhu</div>
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Kapil Limbad Yes, Now that lil bit of free time of these artists will be utilized.</div>
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June 15 at 11:41am</div>
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http://www.pcmag.com/article2/0,2817,2420272,00.asp</div>
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A Standing O for Apple's New Mac Pro</div>
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www.pcmag.com</div>
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Apple's new machine is long overdue and maybe now the competition will finally step up.</div>
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June 12 at 11:34pm near Mumbai</div>
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iOS 7 introduced. Will work only on iPhone , iPad 4, iPad Mini or iPod Touch 5. Nothing earlier. </div>
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So it's not going to be in my house, unless...</div>
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June 11 at 1:11am near Mumbai</div>
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Ravi Kumar J I think the limitation of new iOS hardware is for the feature Air Drop only</div>
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June 11 at 1:19am</div>
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The next new Mac OSX.</div>
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Mac OSX Mavericks...</div>
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No more Lion, Leopard, cats are done.</div>
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June 10 at 11:56pm near Mumbai</div>
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P.v. Ram Prasaanth this was expected, cat family exhausted ...</div>
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June 11 at 12:23am</div>
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http://www.macrumors.com/2013/06/10/apple-to-stream-live-video-of-wwdc-2013-keynote-to-apple-tv/</div>
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In 22 mins from now, 10.30 pm India time tonight (10 Jun '23), WWDC keynote. Featuring iOS 7, maybe Mac OSX 10.9, and some say, the possibility of new hardware - MacBook Pros, MacBook Airs, maybe even a new MacPro. All, all, maybe.</div>
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Apple to Stream Live Video of WWDC 2013 Keynote to Apple TV</div>
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www.macrumors.com</div>
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With just hours to go before today's keynote at Apple's Worldwide Developers Conference kicks off, the company has brought back its...</div>
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June 10 at 11:10pm near Mumbai</div>
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Jay Dantara Now watching</div>
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June 10 at 11:32pm</div>
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The new Adobe Creative Cloud is like an interest-free EMI based payment for all Adobe products on up to two computers at once. For only Rs 2,700 per month, or Rs 1,600 per month if you already own any Adobe suite. Or only Rs 1000 per month if you can show that you are a student or teacher. </div>
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So, for Rs 32,400 going down to Rs 12,000 for a whole year, you can get any or all Adobe software for an entire year - on two computers. </div>
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Depending on your life, you're guaranteed to spend more than that much on mobile phones, petrol, booze, or even eating out... in a year.</div>
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June 8 at 2:46pm near Mumbai</div>
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For the first time, in the '100 years' of Indian Cinema, we can now permanently get rid NG takes, muffed up lines, bad focus pulls, dolly/crane glitches, and wardrobe malfunctions right at the shoot stage when we shoot digital. Like they never happened.</div>
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June 1 at 9:36am near Mumbai</div>
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Editing a docu on FCP X. This is really what FCP X was made for...</div>
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http://www.fcp.co/final-cut-pro/news/1140-using-final-cut-pro-x-to-edit-a-documentary-for-the-bbc</div>
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Oh, the joys of 'digitizing'...</div>
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http://provideocoalition.com/ssimmons/story/i-miss-digitizing-footage-from-video-tape</div>
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Shweta Venkat I miss digitizing - it just used to be a never ending chai break.. I miss rendering- a happy snooze time. Sigh!</div>
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May 29 at 8:34pm</div>
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http://digitalfilms.wordpress.com/2013/05/25/making-fcp-x-work-for-you/</div>
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Making FCP X Work For You</div>
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digitalfilms.wordpress.com</div>
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Final Cut Pro X is steadily gaining numbers among professional editors as Apple integrates more features in response to users’ needs. Unlike the previous iterations of Final Cut Studio - where ever...</div>
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May 29 at 12:57am near Juhu</div>
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There are some great resources to learn and understand FCP X. And once you begin to get the hang of it, you really enjoy editing in a whole new way.</div>
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May 26 at 7:09pm near Parel</div>
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Vedansh Pandey An article which compares some specifics of workflows such as media management ,plugins ,clip management ,exports etc :</div>
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http://digitalfilms.wordpress.com/.../final-cut-pro-x.../</div>
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Final Cut Pro X versus Premiere Pro CS6</div>
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digitalfilms.wordpress.com</div>
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The struggle within most shops that invested in Apple’s Final Cut Pro is whether...</div>
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May 28 at 5:31pm</div>
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Autodesk Smoke 2013 Ext 1 recently released, now adds support for Blackmagic cards. And support for Sony XAVC and RAW.</div>
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So if you have a well set up DaVinci Resolve system, just add Smoke software and you have both. Switch between finishing artist and colorist on the human side and you have a system that can do both. Add FCP 7, FCP X, and Avid to the same system and now you have a 'God system' that can do everything.</div>
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Still need the humans, though. Don't skimp in selecting them.</div>
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May 24 at 10:22am near Mumbai</div>
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When a post house which has been contracted to do a complete DI for a feature film, and they try to import an EDL into their Baselight and the Baselight crashes, aren't they supposed to find a fix? Instead of simply returning the EDL back to the editor. Particularly when the same EDL imports fine into an Avid or an FCP.</div>
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Shouldn't they, the post house, write to Baselight to find out what's going on?</div>
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Anyone have this problem? How did you solve it?</div>
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May 21, 2013 at 1:54am near Mumbai</div>
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Amitabh Shukla Wonder if the editor gets paid more for troubleshooting and saving the post houses ass??!!</div>
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May 21, 2013 at 4:16pm via mobile</div>
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Kapil Limbad & What if it opens in Adobe Premiere Pro, that too without crashing.</div>
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May 22, 2013 at 2:47pm</div>
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Vedansh Pandey</div>
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Sir is 1080p sequence setting in FCP 7 impossible?</div>
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April 22, 2013 at 9:50pm</div>
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Neil Sadwelkar FCP 7 can work on a sequence as large as 3840x2160 which is 4 times 1080p</div>
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April 23, 2013 at 12:06am via mobile</div>
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With the coming of FCP X why have people forgotten that FCP 7 still continues to work. Premiere Pro with all its native workflow lacks some really significant features that FCP 7 has. Avid is a whole different interface and methodology to learn. </div>
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So if you are a one-man band doing docus, why not just spend the time learning FCP X. And keeping your FCP 7 for all the stuff that FCP X can't do.</div>
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April 22, 2013 at 2:29pm near Mumbai</div>
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Quick guide to Avid editing for Alexa files</div>
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http://neilsadwelkar.blogspot.in/2013/04/editing-arri-alexa-files-in-avid-media.html</div>
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April 18, 2013 at 10:29pm near Mumbai</div>
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Hitachi Deskstar Drives are now made by Toshiba. </div>
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Hitachi Enterprise class Ultrastar Drives are now made by Western Digital.</div>
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Hitachi is NO LONGER in the hard drive business. Both the Toshiba Deskstar drives & the Western Digital Ultrastar Drives are fine & there is NO quality difference between the Western Digital & Toshiba brands then there were when they were branded "Hitachi".</div>
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April 18, 2013 at 10:03am near Juhu</div>
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When you need to see metadata in an Avid MC bin can't you just read it by turning on the columns you need, or is it compulsory to export an .ALE and torture yourself reading it?</div>
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April 16, 2013 at 2:32pm near Bombay Santa Cruz</div>
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http://www.fcpxland.com/battle-flying-cameras-nab-2013-3866/</div>
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Battle of the Flying Cameras at NAB 2013</div>
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fcpxland.com</div>
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After buying an expensive piece of equipment, I often ask myself: ‘How can I destroy this using another expensive piece of equipment?’ The answer: drone camera rigs.</div>
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April 12, 2013 at 10:29am near Mumbai</div>
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NAB Show 2013 wrap...</div>
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4k has developed stealthily and rapidly. And it's now real. From cameras and recorders 4k, to video I/O that's 4k, storage capable of playing 4k... But affordable monitors?? We are some way away on that yet.</div>
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But for some non-broadcast applications it makes sense to work 4k. By year end, 4k displays will be easily available. And once you see your production 4k... there's no going back.</div>
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And... you don't need glasses.</div>
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April 12, 2013 at 9:58am near Mumbai</div>
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4k at 1000 fps is where slomo will now be at...</div>
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Rolls for 5 sec. But you'll take 3 1/2 mins to watch the take.</div>
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http://www.visionresearch.com/blog/next-generation-high-speed-digital-cinema-unveiled-new-phantom-flex4k/</div>
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http://www.visionresearch.com/blog/next-generation-high-speed-digital-cinema-unveiled-new-phantom-fl</div>
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visionresearch.com</div>
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April 11, 2013 at 4:18pm near Mumbai</div>
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And here's a sample of what the Phantom Flex4k at 1000fps looks like...</div>
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http://www.cbsnews.com/8301-504784_162-57578852-10391705/phantom-flex4k-footage-of-firefighters-in-action-is-simply-unreal/</div>
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April 11, 2013 at 4:19pm near Mumbai</div>
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4k for everyone...</div>
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(with deep pockets, and a really good eyesight to even 'see' 4k)</div>
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http://www.engadget.com/2013/04/07/sony-announces-fmp-x1-4k-media-player-and-distribution-service/</div>
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Sony announces $699 FMP-X1 4K media player and distribution service</div>
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engadget.com</div>
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Along with its new 4K TVs, Sony has announced its FMP-X1 4K media player and 4K video distribution service. Plans for both were first revealed at CES,</div>
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April 11, 2013 at 4:09pm near Mumbai</div>
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Why do people bother with a GoPro when there are many point and shoot cameras from Canon and Nikon which deliver much better picture, focus, low light quality, and cost less than the GoPro.</div>
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Movies out of a GoPro simply cannot be intercut with Alexa, Red, F65 any of the pro cameras. They suck particularly in bad light.</div>
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April 10, 2013 at 9:53am near Mumbai</div>
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Red Dragon sensors are being upgraded in existing Reds at the NAB show floor where they have a mini factory.</div>
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Red Dragon will be 6k at up to 100 fps. Right. </div>
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So when are we going to edit on a 4k monitor?</div>
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April 10, 2013 at 9:50am near Mumbai</div>
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Film - the first goodbye...</div>
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http://www.fujifilm.com/news/n130402.html</div>
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Discontinuation of Motion Picture Film production</div>
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fujifilm.com</div>
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As previously announced, Fujifilm has stopped production of the majority of Motion Picture Film products by March, 2013. We would like to thank you very much for your patronage during the long history of manufacture, sales and marketing of these products which will continue to be available until the...</div>
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April 4, 2013 at 9:51am near Mumbai</div>
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And...</div>
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Autodesk and Blackmagic Design Announce Technology Collaboration</div>
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http://news.creativecow.net/story/871215</div>
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April 9, 2013 at 6:42pm near Mumbai</div>
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So, Baselight with Aja hardware</div>
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http://news.creativecow.net/story/871163</div>
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News: AJA Announces OEM Relationship With FilmLight; Supports FilmLight FLIP With Multi-Channel I/O.</div>
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news.creativecow.net</div>
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Visit AJA at booth #SL 3816</div>
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April 9, 2013 at 6:38pm near Mumbai</div>
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This year at NAB...</div>
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3D is dead, long live 4k.</div>
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April 9, 2013 at 9:42am near Mumbai</div>
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NAB 2013</div>
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Aja's 4k recorder now available $ 3995. Can record full 4k from a Canon C300, Sony F55 and other cameras. Affordable 4k filming is now here... </div>
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http://www.aja.com/en/products/ki-pro-quad/</div>
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April 9, 2013 at 8:56am near Mumbai</div>
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NAB 2013 </div>
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Blackmagic Production 4k camera, Available July '13 $ 3995 </div>
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http://www.blackmagicdesign.com/products/blackmagicproductioncamera4k/</div>
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http://www.blackmagicdesign.com/products/blackmagicproductioncamera4k/</div>
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blackmagicdesign.com</div>
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April 9, 2013 at 8:28am near Mumbai</div>
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NAB 2013</div>
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Blackmagic intros new pocket cinema camera. Available July 2013, $995</div>
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http://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/</div>
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April 9, 2013 at 8:27am near Mumbai</div>
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Avid Media Composer 7. At a never-before price, with amazing new features. </div>
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http://apps.avid.com/mediacomposer7/</div>
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April 8, 2013 at 9:36am near Mumbai</div>
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Those who lust after a Steadicam but lack the funds or have shots in tight spaces... the MoVI</div>
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https://vimeo.com/63357898</div>
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This short was shot with the The "MōVI" - a digital 3-axis gyro-stabilized handheld camera gimbal. The completely silent device weighs under 3.5 pounds...</div>
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April 6, 2013 at 11:32am near Mumbai</div>
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I'm wondering. </div>
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In these days of files in files out, and nearly no tapes or answer prints, do we still need that sync beep 48 frames before and after? </div>
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Why not just make the audio and picture files same length and same timecode and frame rate. </div>
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If they line up they are in sync.</div>
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March 28, 2013 at 10:21am near Juhu</div>
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Roland Heap I'm seeing more and more films arriving as complete playouts - no reels in sight. But I'm absolutely in favour of keeping 48frame pops - it's a safe way of ensuring sync, and allows a reliable and easy way to check that nothing has gone wrong. We still...</div>
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March 28, 2013 at 2:15pm</div>
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Neil Sadwelkar Roland Heap and Amitabh Shukla. About the reels break-up. Yes, sure even in these non-film days, a 20 min reel break is recommended because unlike Avid or FCP, most 'high-end' systems like Smoke, Resolve, eQ etc behave better when working with smaller ...</div>
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March 30, 2013 at 9:32am</div>
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Sameer Shaikh @Neil....i hv also started putting 'burn-in framecount' and 'burn-in footage count' in video along with 'burn-in timecode' (actual positve count from FFOA to LFOA and negative count on start beep) whenever i output mov's from avid or fcp after reeling...</div>
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March 30, 2013 at 11:40am via mobile</div>
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http://www.fxguide.com/quicktakes/rhythmhuespranastudios/ </div>
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So will R & H rise again after this? Or will Prana sink with the weight of two? </div>
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Will this be a united force which will keep the best of the two and throw out the worst? Or will it be the other way around?</div>
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March 30, 2013 at 10:09am near Mumbai</div>
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There are two kinds of people...</div>
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Those who have lost data due to hard disk failure.</div>
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Those who have yet to lose data due to hard disk failure. </div>
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Carbon Copy Cloner, SuperDuper, Silverkeeper, Time Machine, Get Backup Pro... just get something going today!</div>
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March 30, 2013 at 9:19am near Mumbai</div>
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Anyone planning to invest in a new editing system, software, plug-ins, hardware, etc... the next two weeks are a 'waiting period'. NAB (National Association of Broadcasters) hosts one of the largest exhibition on film, TV, and broadcast equipment at Las Vegas. This year its 08-11 Apr. </div>
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Here, many manufacturers announce and introduce new products. Many expect a new Avid Media Composer 7, Premiere Pro 7 which will make Premiere more usable. </div>
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Apple is not known to announce new products or software at this show, but you never know.</div>
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So, if you've waited so long, then wait till Apr 10 at least.</div>
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March 27, 2013 at 12:56pm</div>
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The recently announced Canon EOS 100D/SL1 is one of the smallest DSLRs you can ever come across. It lacks some of the features and picture quality of the big gun 5D MkII, 7D etc, but it has autofocus during HD movie shooting.</div>
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And the other newly announced 700D has autofocus during HD movie and a LCD which can be turned up down left right both of which are lacking in the 5D 7D series. </div>
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And, both 700D and SL1 have a touch screen.</div>
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March 26, 2013 at 11:55pm</div>
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If you have a digitally shot project to cut on Avid, and in the bin, you're seeing a blank source or tape column, or no source file mentioned, then beware. It's likely that whoever converted the original Alexa/Red/F65 files, neglected to include this data.</div>
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You can edit away, but when it comes to doing DI, your EDLs aren't going to link back to the source files. </div>
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So...</div>
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Before the tragedy, if I can get a look at the bins containing master clips, I now have scripts and methods to recreate this metadata and plug it in. I don't need to see the actual footage. Media offline bins will do.</div>
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March 26, 2013 at 7:07pm</div>
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G-Technology G-Drive is now freely available in India.</div>
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This one...</div>
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http://www.g-technology.com/products/g-drive.cfm</div>
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If anyone is genuinely interested, inbox me for pricing and delivery.</div>
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And for those who need a larger, more secure drive, the G Speed Q is also available in India now...</div>
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http://www.g-technology.com/products/g-speed-q.cfm</div>
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March 26, 2013 at 12:29pm</div>
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All you modest budget feature film makers, clamouring for an Alexa but can't afford the rental or disk space, here's an alternative every bit as good as an Alexa in the right hands. </div>
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Coupled with a Samurai, you have pure ProResHQ, just like Alexa.</div>
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PL mount prime lenses too. And a lightweight package.</div>
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Workflow no problem, much simpler than Alexa, all files ready to edit.</div>
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Call</div>
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Jeki +92 95944 70007</div>
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March 25, 2013 at 4:40pm</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-77283528685261327432013-10-03T09:46:00.000+05:302013-10-03T09:46:51.762+05:3024-25 fps in the digital age<div dir="ltr" style="text-align: left;" trbidi="on">
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There's still a fair bit of confusion in the minds of professionals who work in cinema about this '24-25thing'. By cinema, I mean movies that get made for showing in theatres. And this confusion is deep amongst sound recordists and sound engineers. And to a smaller extent, with VFX and DI 'artists'.</div>
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In the film days, video from telecine (conversion of film to video) came out with a 25fps timecode. The editing system tracked 25fps timecode. But it played back film originated material at 24fps.</div>
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Sound recorded by sound recordists could happen at 24fps timecode or 25fps timecode. But recordists often recorded with 25fps timecode. </div>
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Sound has no fps denoting speed. Sound is a continuous phenomena with no 'frames'. 'Frames' happens in video and film only. But some sound recordists still believe that there is such a thing as timecode rate and frame rate and they have to be different. Duh?</div>
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In digital filming - shooting with Red/Alexa/F65 etc - we shoot at 24fps. And we edit digital 'rushes' at 24fps. So there's no 25fps timecode or frame rate employed anywhere in the chain. And this significant fact has escaped many a sound recordist and in India they continue recording sound at 25fps even for digital 'films'. Even some Oscar, and multiple Filmfare or National award winning sound recordists continue to record sound at 25fps. Again, duh?</div>
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They claim that it works just fine even if the film is being shot on digital and the editing is being done at 24fps. Maybe it does, but its largely unnecessary. Maybe their ProTools sessions still track 25fps timecode that's why. But it's simply illogical to run the sound session at 25fps when the picture edit sessions are running at a frame rate of 24fps and a timecode of 24fps.</div>
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fps in the film days</div>
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I've written a fair bit in this on this before and you can check it out <a href="http://neilsadwelkar.blogspot.in/2007/02/this-24-25-issue-in-pal-film-editing.html" target="_blank">here</a>…</div>
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<span style="font-size: x-small;">(http://neilsadwelkar.blogspot.in/2007/02/this-24-25-issue-in-pal-film-editing.html)</span></div>
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But very briefly, its like this... </div>
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When we shot film - 35mm or 16mm film - the film had to be converted to video for editing on a Avid or FCP or whatever. This is called telecine. In India we always did telecine from film to video at 25fps. Meaning film ran at 25fps and tape ran at 25fps.</div>
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I just met a very senior sound recordist last week who told me film was telecine'd at 24fps. Plain wrong belief. We never did telecine at 24 fps for a film who's negative had to be cut later. Or even a film where DI had to be done. Never ever.</div>
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Never, ever, meaning not even one of the 160+ films I've supervised the DI for, (some I was part of the editing) had telecine at 24 fps. Not even one. And yes, one hundred and sixty plus is the number of films who's DI I have personally supervised.</div>
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Why?</div>
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Because tape runs at 25fps in India so the only way to have a one to one correspondence between film frames, and video frames was to run the film at 25fps in telecine. And you need this one to one correspondence because the telecine records a log file carrying key codes which is the only way to identify any given frame in film.</div>
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The editing system - Avid or FCP receives this log and tags the video with it. So that when you are finished editing, a 'cut list' can be put out and a human can read this to cut the negative. Yes, before DI happened to humanity, negative used to be cut. This was till about 2006.</div>
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One small other fact. If the telecine runs film which had been shot at 24fps at 25fps instead of 24fps, does that not speed up the film? How does sound sync in that case? It sync because, yes, the film at 25fps is 4% faster, but when the editing system receives this 25fps from tape, it automatically slows it down by exactly 4% to make it run at 24fps and hence sync with sound. </div>
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Avid does it automatically during capture in a film project (not otherwise). While FCP does it after capture. Both editing systems are capable of playing back a 24fps picture with 25fps timecode. Yes, that's exactly how it works. </div>
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And yes, there are still some sound recordists and engineers who have, apparently not grasped this fact. And some of these have won Oscars and some have won the national Film award for their work. So they are very accomplished and produce some amazing work in sound. But this small technical fact still escapes them.</div>
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Why am I harping on the award thing? Because every time I alert a young sound recordist about this, he or she points me to that senior award winning guy or gal who still 'does it' at 25fps. </div>
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I believe that this 24fps picture with 24fps timecode, married to sound with 25fps timecode is the single most common reason for 'loose sync' in digital film sound work that many complain about. If you don't believe me, try for once recording sound with 24fps timecode, do your ProTools post on a 24fps session and then check how tight the sync remains when editing in Avid or FCP.</div>
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Or listen to that 'award-winning recordist' who doesn't have his fundas straight.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-9945742331361984952013-08-31T16:21:00.001+05:302013-08-31T16:22:10.831+05:30Film and Digital - a casual Facebook debate<div dir="ltr" style="text-align: left;" trbidi="on">
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Some days ago I posted on Facebook...</div>
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At approx Rs 13,000 per 400ft roll and exposing about 7 rolls (28 mins) a day for 60 days, feature films used to spend about 55 lakhs on film and processing alone.</div>
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Now, shooting digitally, and shooting even 60 mins a day for 60 days costs only Rs 6 lakhs for hard disks even if you make copies to two separate hard disks. </div>
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I meet film producers every day who find that costly.</div>
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From the very interesting comments I got, I've made up a debate on film vs digital in the movie business</div>
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Film-maker friend Nayan Padrai commented...</div>
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"Wait till they convert in dollars" </div>
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What he meant, I guess, is that these figures are different in the US. probably because film costs much less there than it does in India, while manpower costs are higher. Digital probably involves more people hence costs more. </div>
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Ashoka Holla, founder of Berserk Media and one who's been at the producer end, commented</div>
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"How I wish the difference between film vs Digital was so simple.."</div>
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My response to Ashoka...</div>
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"digital is only as simple as people make it. Or, it can be complicated if they wish it upon themselves. </div>
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For the past year and a half, I run a company that specializes only in providing an adequate workflow for movies shot digitally. Disks, transfers, conversions, conform for DI, long term backup, archiving, Avid/FCP on hire everything digital. </div>
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For a price, of course.</div>
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Have worked on over a dozen movies, more in the pipeline."</div>
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Sanjay Sami, arguably one of India's finest grips and one who's in the thick of it, has to 'shoulder the burden' of film or digital cameras more than anyone else…</div>
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"The most expensive component of a shooting day is time. When we were shooting Life of Pi, the Producer David Womark told me that the cost per MINUTE of production time was 7,000 US$. So ... does shooting time go faster with a film camera or Digital ? My guess is that film is faster …"</div>
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Ashoka responded (referring to my new business Post BlackBox)</div>
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"Hey congratulations..that sounds like a good business..My only point here is the difference is not only film vs Disks.. Disks, Transfers, Conversions, Image stability across systems and many many other intangibles( Shooting days, Discipline etc) are additional costs. Plus with digital you tend to shoot so much more that it takes more days in post to sort( & select) plus ofcourse Post Blackbox Costs as well. Yes Digital works out cheaper upfront but in totality with all the hidden costs, the gap is much smaller than what it appears"</div>
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Ashoka to Sanjay…</div>
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"Good point ..I love Digital but I have started loving film more after Digital came through. Content should dictate the choice of origination.. I would be disappointed if film does not exists any more for film makers to make that choice"</div>
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Sanjay...</div>
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"There is no financial reason to shoot digital over film. In many actual comparisons carried out by Fox Searchlight, Digital was found to be more expensive all told, including for some of the reasons mentioned by you. A lot of Producers buy into the hype surrounding the fact that hard drives are cheaper than film stock. If you choose digital over film it should be for other reasons, and there are a few."</div>
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My response...</div>
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"I've been doing this for a living for the past 18 months. Have done this math over and over again for all sizes of productions - Fukrey to Dhoom 3. And I assure you that if handled correctly, digital movie shooting in India costs a fraction of shooting film. </div>
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As an editor I have exact numbers of cans exposed for the dozen or so films I've edited. Shot film. </div>
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And as a DI supervisor I have the numbers for about 160+ (yes 160+) films whose cans came to me for DI. </div>
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So, trust me, digital costs less to shoot than film even accounting for higher camera rental costs. </div>
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In some movies I've worked on, digital shooting enabled a reduction and sometimes elimination of lights, some or even all of them. </div>
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Since Feb 2012 I've been on digital shoot sets for nearly 300 days in 12 countries and 9 states of India. </div>
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Digital works. But only if you hire the right people."</div>
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Ashoka…</div>
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"With due respect to ur knowledge and experience, I am afraid that is no argument. U can compromise on quality to save costs.Especially ur comment about no lights frightens me becos in the last one year I have seen several films shot digitally which compromised on lights and when u see the result on screen u cringe! Digital works for sure no doubt.But films works too. Both have their place under the sun.."</div>
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Sanjay Sami...</div>
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"Neil, your calculations are based on material costs. And you are right there. Hard drives are cheaper than film. That was not at all my point. I think there are some good reasons to shoot digital. Cost is not one of them.</div>
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Me…</div>
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"For a movie costing Rs 40-60 crores to the lead actor, film or digital makes little difference. </div>
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For aspiring film makers with Stanley ka Dabba, Ship of Theseus, Fukrey and many such, in their heads, shooting digital is the only possibility. Digital is an enabling medium for many, who, with film would never be able to take the movie out of their head and on to a screen."</div>
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My response…</div>
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"Editors gave up film over 20 years ago. With Avid and FCP, editing went digital. Sound got recorded and edited digitally too. Then post went digital, then prints gave way to DCPs. Cinematography is the last thing to go digital. </div>
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Let's move on. There's an easier world out there. Let's enjoy film-making. Let's not wish upon our youngsters the drudgery of film. If you were an editor in the 80s film was drudgery.</div>
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Like many editors of my age, we have actually held film and lived with it for months on end. Nothing beats carrying large cans up stairs to a dingy editing room at Dadar. The smell of chemical in your nostrils all day and night like film smells. </div>
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The whirr of the Steenbeck and a small flickering image on a screen. Or standing before a Movieola and watching an even smaller screen. The film was actually in your hand all day. And it was organic. Organic smells, and it's heavy.</div>
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White pencil to mark, a splicer to cut, and cello tape to join were editor's tools. Everything was always 'saved', no need to make backups, no worrying about anything getting 'corrupt'.</div>
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Then you cut the negative, the exact same film the cinematographer rolled. </div>
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No one called themselves DoP back then. And after pack up they were in your BEST bus to Andheri. Now you're in the same jam outside Oberoi Mall. In separate cars."</div>
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Ashoka S Holla…</div>
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"how nostalgic? what u call drudgery was actually a lot of fun. Organic negatives were treated with so much care like its ur baby.Yes digital filmmaking presents a whole new opportunity to filmmakers ( see my quote in ET a couple of Weeks back). But filmmakers should be the one making choices and not post houses.</div>
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My response...</div>
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"about film-makers not post houses deciding, that I will agree with you all the way. About negatives and babies, not sure. I've had both."</div>
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Ashoka S Holla linked to an article on new age movie distribution</div>
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Content helps small-budget films script big success, 405 such films hit theatres in Jan-Jul</div>
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http://articles.economictimes.indiatimes.com/2013-08-10/news/41268120_1_film-industry-movies-malayalam</div>
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and on new directors working on shoestring budgets possible only because of digital 'filming' </div>
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The YouTube way to fame in filmland</div>
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http://www.mxmindia.com/2013/07/the-youtube-way-to-fame-in-filmland/</div>
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Both are articles on the new wave of film makers and how Digital technology will create the next wave of content creation.However hope you will agree that still film has a huge role to play in storytelling. In some areas like archiving and even data storage Film is making a strong comeback across the globe.</div>
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Sanjay Sami on ease of use or lack thereof…</div>
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"post may be easier in digital, but that is CERTAINLY not true of the shooting process. Film is faster and simpler in almost all cases."</div>
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My response...</div>
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<span style="color: black;">"</span>Actually, 'real' film is when you shoot film, cut the neg, make a contact print from the original neg. Watch in a film projector. Like we've done from 1920s till 2000. That's film. </div>
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We began to give that up after about 2003. </div>
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In the world of DI (post 2003), film remained film only in the camera. After that it was all digital anyway. </div>
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Shooting digital need not be a compromise in visual quality. And shooting film need not be all lyrical and poetic. Work on a Bhojpuri film shot on 35mm and see.</div>
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About movies shot digitally without lights... I have NDAs. </div>
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So all I can say is wait and see. Actually when you watch it, you won't even know which shots were done without lights. It just looks so natural."</div>
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And so the debate goes on</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com1tag:blogger.com,1999:blog-20814303.post-89471447043541904982013-08-31T15:57:00.001+05:302013-08-31T15:57:17.829+05:30Adobe Creative Cloud<div dir="ltr" style="text-align: left;" trbidi="on">
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Here's the deal.</div>
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Before May 2013, if you wanted to use an Adobe product - Photoshop, After Effects, Illustrator, Premiere Pro, whatever - you had to buy it, either each one or as a suite of many applications. Or, like many in India, you 'borrowed' it. But 'borrowing' Adobe software is inconvenient and even dangerous. If you were in an organisation, even a small shop in Adarsh Nagar or MHADA, you faced the prospect of a raid and subsequent purchase. </div>
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Many people pointed to the high price of Adobe products, but that is never a good excuse to steal, which is what 'borrowing' software really is.</div>
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Recently Adobe announced that its products will now be available online, as a monthly subscription. It's called Adobe Creative Cloud. You need to get a membership to the Creative Cloud. Once you do that, you can use any Adobe product by downloading it. As part of the membership you also get 20 GB of space on Adobe's servers where you can save your work and access it on any machine connected to the Internet.</div>
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So, what does that mean to us creative artists in India?</div>
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The basic Creative cloud membership is Rs 2,700 per month. And you have to commit to a year's membership at least. During that year you pay 2,700 x 12 = Rs 32,400. If you have any Adobe software after CS 3, you can upgrade for just Rs 1,600 per month, or Rs. 19,200 per year. Students and teachers get it for Rs 1000 per month only.</div>
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Even if you only use Photoshop and/or After Effects, getting the Creative Cloud at Rs 2,700 per month is a no-brainer. Pay once and its debited to your card every month. Like buying software with an EMI. You won't even feel it.</div>
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And for that you can download and use any (or even all) of these. And you can install on up to two machines belonging to you.</div>
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Photoshop, Illustrator, InDesign, Dreamweaver, After Effects, Adobe Premiere Pro, Adobe Muse</div>
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Other apps like </div>
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Acrobat Pro, Adobe Audition, Bridge CC, Encore, Fireworks, Flash Builder, Flash Professional, Adobe InCopy, Lightroom, Media Encoder, Prelude, SpeedGrade</div>
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Edge Apps like</div>
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Edge Animate, Edge Inspect, Edge Web Fonts, PhoneGap Build, Edge Code, Edge Reflow, </div>
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Services like</div>
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Story, Kuler, Business Catalyst, Typekit, Behance, ProSite</div>
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Touch Apps like</div>
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Photoshop Touch, Kuler for iPhone, Ideas, Behance for iPhone, Creative Portfolio for iPhone.</div>
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For all those who crib about FCP 7 being discontinued, remember, FCP 7 costed no less than Rs 50,000 to buy. If you switch to Avid, you're looking at over Rs 80,000 for a new Avid license. </div>
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But for Rs 32,400, Premiere Pro is yours for a year. With Photoshop and After Effects and many other apps free - all this on two machines.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-18171384300112257432013-08-23T12:08:00.002+05:302013-08-23T12:08:32.915+05:30A new iPhone - Sept 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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Disclaimer: This post is pure speculation. I have no knowledge of any of Apple's impending plans for any of their products. I doubt if anyone outside of Apple has any such information. And anyone within Apple too is not permitted to relay any such information. So this post is my own imagination and guess-work.<br />
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<b>iPhone 5s, iPhone 5c</b></div>
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There's a lot of speculation on various blogs and web sites on exactly what Apple will announce on Sept 10, 2013.<br />
The current MacBook Pros, iMacs and Mac Minis too are old enough from previous versions that new models of these could be announced. And, of course, a retina iPad mini is possible too.<br />
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But by and large, people agree it will be a new iPhone. And iOS7, maybe.<br />
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On the new iPhone, speculators and rumorists are rooting for an iPhone 5s. Many new features are being touted for the iPhone 5s which some of which are only an evolution of the current iPhone 5. And there's also very rumoured iPhone 5c. The so called iPhone 5c is speculated to be made of plastic in different colours. I doubt a cheap iPhone, but anything is possible.<br />
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When Apple first introduced the iPhone in 2007 there was no competition existing for a touch screen phone in which the user could load apps to increase the usefulness of the device. Over the past six years and four models, other manufacturers have caught up with and even surpassed the iPhone's capabilities. So now, Apple needs something revolutionary or there's no point introducing a new iPhone.<br />
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<b>iPhone camera improved</b></div>
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I think there is probably at least one revolutionary feature that no one has predicted yet. So here goes my first prediction for the new iPhone. A better camera.<br />
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The existing iPhone has a 8 megapixel camera which many believe is one of the best phone cameras. But other phone manufacturers have higher resolution cameras and some have cameras that perform better in low light.<br />
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Three factors that can be bettered in the existing iPhone camera. Resolution, stabilization, and low light performance. But, given the thickness of the iPhone, its hard to increase the resolution and light gathering capability of the existing camera. Unless one adds cameras.<br />
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So, I predict some kind of a multi lens multi sensor 'super-resolution' camera which combines the output of multiple cameras to increase dynamic range and resolution. And multiple cameras also help in image stabilization and leveling. If not multiple cameras, the new iPhone will probably have vastly improved image processing.<br />
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<b>Distributed processing</b></div>
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Improved processing needs a faster processor. And that leads to the next new feature. Some kind of distributed processing with one's other Apple device so that the iPhone gets capabilities of a desktop device by collaborating with, say, a MacBook Air or MacBook Pro. Collaboration with external devices needs authentication. What better way to authenticate the user but with fingerprints.<br />
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<b>Fingerprint authentication</b><br />
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So, like many other speculators, I think there may be a home button which can read finger prints. This is as good as or better than credit card security. Apple recently acquired a company that specializes in finger print authentication. Finger print authentication also ensures theft-proofing of the iPhone. So the one issue with phones in general is losing them and along with that losing one's valuable data.<br />
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Finger print authentication, coupled with some kind of worldwide insurance scheme would ensure that no one with the new iPhone can ever lose data on the iPhone. And, more importantly, the actual property that an iPhone represents. So, if you lose your iPhone, its useless to anyone else, and an insurance company instantly replaces or underwrites the replacement of your iPhone. Worldwide. So, if your iPhone is stolen, you still have a phone.<br />
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<b>Drop-proof phone</b></div>
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Another way people lose phones is they drop them. Teenagers especially. Shattered screens, mikes or speakers that don't work, and other such issues, that Apple has a hard time supporting. So I think the new iPhone will be drop-proof. Something about the construction will protect the internals and the front glass.<br />
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<b>Back to the future</b></div>
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Whatever features we will eventually see, one thing is certain. There simply has to be some new 'killer feature' in the new iPhone which sets it apart in a very crowded market. Steve Jobs said while launching the first iPhone in 2007, that the iPhone was 5 years ahead of its time. True to that, 5 years later, in 2012, other phone makers finally caught up with the iPhone.<br />
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But in 2012 Apple didn't release anything very extraordinary. Instead, they released the iPhone 5 which was a little better than the iPhone 4. And simultaneously went back to the drawing board to design something revolutionary in 2013. Thats the new iPhone, which, whenever it releases, will once again wow the market. Let's see where this goes.<br />
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-77888409549688127232013-04-18T21:23:00.000+05:302013-04-18T21:24:28.062+05:30Editing Arri Alexa files in an Avid Media Composer<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I wrote about this a couple of year ago <a href="http://neilsadwelkar.blogspot.in/2010/12/arri-alexa-avid-workflow.html" target="_blank">here...</a></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">http://neilsadwelkar.blogspot.in/2010/12/arri-alexa-avid-workflow.html</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But now, in 2013, a lot has changed. There are plenty of Alexas in India, and many have RAW recorders - Codex and Gemini. Also, scores of films shot on Alexa have been released and a few have also had commercial success. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Quite a lot of the workflow has been ironed out, but some holes remain. For a movie that will release tomorrow I did a fair bit of fire-fighting since the 'DIT' had somehow lost the source name while transcoding files for Avid. I really don't understand how these things happen.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Avid has a good set of resources on <a href="http://avid.force.com/pkb/articles/en_US/how_to/en387379" target="_blank">Arri Alexa workflows on the Avid site</a>.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">http://avid.force.com/pkb/articles/en_US/how_to/en387379</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">As usual, <a href="http://digitalfilms.wordpress.com/tag/arri-alexa/" target="_blank">Oliver Peters blog</a> is linked to.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I've put together a more detailed Avid-specific workflow guide...</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For a movie shot on Arri Alex as ProRes4444 2k or ArriRAW.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On set DIT converts Alexa ProRes4444 or ArriRAW media to Avid DNxHD36 .mxf files</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On set sound mixer provides .wav files of </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">recorded location </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">sound.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DIT sends DNxHD36 .mxf files and .wav files to editor's assistant</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Editor's assistant copies .mxf files to Avid Media files folder.</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sound .wav files are imported into Avid into Audio bins - day wise</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DNxHD36 files get populated into bins by dragging the .mdb file to a bin, or</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DNxHD36 files get populated into bins by copying them from the media tool to bin</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These are video master clips representing camera clips. These will not be renamed.</span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Editor's assistant</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> then drags all these video master clips to a sequence.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Then he/she syncs each video file to the corresponding audio files. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Syncing by eye-matching with the clap on screen, or by matching timecode if sound mixer has managed to match picture timecode and audio timecode.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">From this sync sequence sub-clips are made to a new bin, one sub-clip per video clip.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These are auto synced to get new autosync sub-clips.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Autosync sub clips are renamed as per shots they represent.</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Editor's assistant</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> then makes scene wise bins and populates them with auto-sync sub-clips.</span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Editor's assistant</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> then puts a watermark on a new layer in the sync sequence and exports this timeline for the director's viewing for dailies. Sometimes, the director visits the edit facility from time to time and views rushes with the Director so he can pass on notes and ideas.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On another system, the editor reviews the assistant editor's bins, builds a cut, and refines it.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Some editors I've met </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">insist that the DIT does all the syncing, naming of clips, making bins and creating dailies - all this on set. Because that's how 'it's done in Hollywood'.</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> No truth in that. Even in Hollywood, a DIT will only sync if TC is matched. And a DIT never names clips, makes bins etc. </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">That's always a competent and non-lazy assistant editor's job. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The DIT will move on to some other job, after a movie has been shot, but the editor and his/her assistant have to intimately know all the footage, camera files, master clips, subclips etc since they have to hand over it all to the sound facility and later the DI facility. The DIT doesn't remain on the project till that time. The editor and his/her assistant do.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">And by the way, for an Alexa shoot destined for theatrical release. Alexa shoots at 24fps. That is 24.000 fps not 23.976 fps. The Avid project is 1080p24 not 1080p23.976. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">There are a few countries who </span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">see TV at 29.97 fps, where 30 means 29.97, 50 means 59.94 and 24 means 23.976.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But In the hundred year history of cinema, 24 fps means 24.000 fps. So unless your film will only be seen on TV and in the US and nowhere else in the world, please do everything at 24fps for release in cinemas anywhere in the world, for prints on film or DCP - 24fps only.</span></div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com1tag:blogger.com,1999:blog-20814303.post-91070920710690030332013-03-23T13:26:00.001+05:302013-03-23T13:26:37.706+05:30Final Cut Pro X - FCP X - on a full feature film<div dir="ltr" style="text-align: left;" trbidi="on">
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There is considerable interest in editing new, digitally originated feature film projects with Final Cut Pro X or FCP X. And, according to many this is possible and done. So, if you're still sitting on the fence, check out these articles...</div>
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<a href="http://www.moviemaker.com/diy/movies-better-fcp-x-red-feature-film-workflow-part-1/" target="_blank"><b>We Make Movies (Better): A Final Cut Pro X/RED feature film workflow, Part 1</b></a></div>
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<span style="font-size: xx-small;">http://www.moviemaker.com/diy/movies-better-fcp-x-red-feature-film-workflow-part-1/</span></div>
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<a href="http://www.moviemaker.com/diy/movies-better-final-cut-pro-xred-feature-film-workflow-part-2-by-sam-mestman/" target="_blank"><b>We Make Movies (Better): A Final Cut Pro X/RED feature film workflow, Part 2</b></a></div>
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<span style="font-size: xx-small;">http://www.moviemaker.com/diy/movies-better-final-cut-pro-xred-feature-film-workflow-part-2-by-sam-mestman/</span></div>
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If you need to self-learn FCP X, Richard Taylor's Final Cut Pro X Master List is an excellent resource…</div>
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<b><a href="http://www.fcpx.tv/" target="_blank">All Things Final Cut Pro X</a></b></div>
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<span style="font-size: xx-small;">http://www.fcpx.tv</span></div>
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But if you need a structured learning course, then head over to Ripple Training's courses…</div>
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<b><a href="http://www.rippletraining.com/categories/apple-pro-apps-tutorials/final-cut-pro-x-tutorials/apvs-fcpx.html" target="_blank">Apple Pro Video Series - FCP X 2nd Edition</a></b></div>
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<span style="font-size: xx-small;">http://www.rippletraining.com/categories/apple-pro-apps-tutorials/final-cut-pro-x-tutorials/apvs-fcpx.html</span></div>
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Its only $50 (about Rs 2,700 at today's $ rates) for the iPad edition, and is a step by step training course with demo material so you can do it yourself along with the training.</div>
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If, after all these, you still find yourself a bit at sea, and would like to have some actual face to face guidance, <b><a href="http://www.sadwelkar.com/mailneil.htm" target="_blank">write to me</a> </b>and we could work out some tutoring arrangement.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0tag:blogger.com,1999:blog-20814303.post-57155275412750459652013-02-23T17:59:00.002+05:302013-02-23T18:01:42.538+05:30The new Arri Alexa XT<div dir="ltr" style="text-align: left;" trbidi="on">
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The new Arri Alexa XT introduces built-in ArriRAW recording and an upgrade for existing Alexa owners.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmpn2kXj2Y4DibUx7FWYadwDulTmonEdpSEpxLeKlQAqnCod8Wo2HwTIa0KyNqPIQZA-_2Kvbnjhf6aQTGa_wrC1yly_dlKuDf9biVvMl1N13_omWa5zZJJePWRbm6HnBXZNyzg/s1600/Arri+Alexa+XT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmpn2kXj2Y4DibUx7FWYadwDulTmonEdpSEpxLeKlQAqnCod8Wo2HwTIa0KyNqPIQZA-_2Kvbnjhf6aQTGa_wrC1yly_dlKuDf9biVvMl1N13_omWa5zZJJePWRbm6HnBXZNyzg/s400/Arri+Alexa+XT.jpg" width="400" /></a></div>
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On Arri's web site, there is a link on the <a href="http://www.arri.de/camera/digital_cameras/cameras/camera_details.html?product=253" target="_blank">new Alexa XT cameras</a>.</div>
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<span style="font-size: xx-small;">http://www.arri.de/camera/digital_cameras/cameras/camera_details.html?product=253</span></div>
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And at <a href="http://blog.abelcine.com/2013/02/20/arri-announces-new-alexa-st-cameras/" target="_blank">Abel Cine, a short description</a>.</div>
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<span style="font-size: xx-small;">http://blog.abelcine.com/2013/02/20/arri-announces-new-alexa-st-cameras/</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqoKsEfC61x1YtTaEZCjJA7zFVMNoB1NmQhjHFcLUtrOc63WIHE_mHWJx4XAvGUBOn-59cQ8xKqCEdesM4jZ5xyo9JXR2oRmxpOBS9vFeCfxYpyeEqYPP-E7zx0DS-FNks6X1RdQ/s1600/Alexa+XT+rear.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqoKsEfC61x1YtTaEZCjJA7zFVMNoB1NmQhjHFcLUtrOc63WIHE_mHWJx4XAvGUBOn-59cQ8xKqCEdesM4jZ5xyo9JXR2oRmxpOBS9vFeCfxYpyeEqYPP-E7zx0DS-FNks6X1RdQ/s320/Alexa+XT+rear.jpg" width="320" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">The AlexaXT showing the XR module in-camera</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">and a XR 'magazine'</span></div>
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AlexaXT is a new range of cameras that provide ArriRAW recording within the camera itself. Using new magazines co-developed with Codex. 512 GB in one magazine, which can record about 55 mins ArriRAW. Download is with a new reader which has USB3 and one still will need to use the VFS software to get data off these magazines.</div>
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Existing Alexa owners can have their cameras upgraded to the AlexaXT with this XR module which replaces the ProRes card module. So if the camera could record ProRes, it will now be able to record ArriRAW. If you still wish to record ProRes, you need an adapter that permits using SxS cards.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGVCubYTvCwz7iDfj7G2sljJ3PoDS7q0QQZzji-6R3_mYIhZYCz8ysIizMupR8nW_bscofyWCwIV709z0AUfFBpz6MYHzKA24poBTLSUUJUQeZhcVJZhhvv2bMSUr432QDRG02CQ/s1600/Alexa+XT+XR-Module-with-drives.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGVCubYTvCwz7iDfj7G2sljJ3PoDS7q0QQZzji-6R3_mYIhZYCz8ysIizMupR8nW_bscofyWCwIV709z0AUfFBpz6MYHzKA24poBTLSUUJUQeZhcVJZhhvv2bMSUr432QDRG02CQ/s400/Alexa+XT+XR-Module-with-drives.jpg" width="400" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">The XR module with the XR adapter for SxS (top right)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">and the XR module for ArriRAW (bottom right)</span></div>
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Existing Alexa owners who have invested in Codex ArriRAW recorders, will have a dilemma. Continuing with the Codex recorder, will not fetch any additional rent once the XT Alexas become common. And definitely after existing Alexas without Codex recorders upgrade to the Alexa XT.</div>
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Existing Alexa owners who have Gemini444 recorders are in a safer position. Their Alexa can do ProRes or Gemini ArriRAW depending on the production's budget. And they've had a lower expenditure to buy the Gemini which costed nearly half or less compared to the Codex Recorder.</div>
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The new Alexa XT or existing Alexas with the XT upgrade also provide high fps shooting as standard and not a priced option as earlier. </div>
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These upgrades coming so soon after the release of the Alexa Studio will mean that anyone investing in any high-end digital movie camera will need to recover their investment in as short a period as possible since manufacturers will introduce newer cameras and recorders in as less as one to two years.</div>
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But for users it is a boon as they get access to better means of creating moving images at shorter intervals. Just like the F5 and F55 are an upgrade to the F65 at a lower price… but that's another story.</div>
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The complete description of features from Arri's web site...</div>
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<li style="color: #404040; margin: 0px 0px 9px;"><b>Refresh of ALEXA camera family</b></li>
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<li style="color: #404040; margin: 0px 0px 3px;">ALEXA XT, ALEXA XT M, ALEXA XT Plus, ALEXA XT Studio</li>
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<li style="color: #404040; margin: 0px 0px 9px;"><b>XR Module for faster, more affordable ARRIRAW</b></li>
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<li style="color: #404040; margin: 0px 0px 3px;">In-camera ARRIRAW up to 120 fps</li>
<li style="color: #404040; margin: 0px 0px 3px;">In-camera ProRes or DNxHD up to 120 fps*</li>
<li style="color: #404040; margin: 0px 0px 3px;">Fast 512 GB XR Capture Drives</li>
<li style="color: #404040; margin: 0px 0px 3px;">Proven, efficient Codex on-set or near-set workflows</li>
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<li style="color: #404040; margin: 0px 0px 9px;"><b>Less weight and easier working with internal NDs</b></li>
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<li style="color: #404040; margin: 0px 0px 3px;">In-camera Filter Module IFM-1</li>
<li style="color: #404040; margin: 0px 0px 3px;">Internal filtration reduces reflections, weight and hassle</li>
<li style="color: #404040; margin: 0px 0px 3px;">New high-tech filters based on white-water optical glass</li>
<li style="color: #404040; margin: 0px 0px 3px;">Neutral color balance at all densities through absorptive IRND coating</li>
<li style="color: #404040; margin: 0px 0px 3px;">Accurate infrared cut off</li>
<li style="color: #404040; margin: 0px 0px 3px;">High image sharpness through precision polishing</li>
<li style="color: #404040; margin: 0px 0px 3px;">High contrast through anti-reflective multi-coating</li>
<li style="color: #404040; margin: 0px 0px 3px;">Available in 8 densities from ND 0.3 to ND 2.4</li>
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<li style="color: #404040; margin: 0px 0px 9px;"><b>True anamorphic with a 4:3 sensor</b></li>
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<li style="color: #404040; margin: 0px 0px 3px;">4:3 sensor on all XT models</li>
<li style="color: #404040; margin: 0px 0px 3px;">Anamorphic de-squeeze license included</li>
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<li style="color: #404040; margin: 0px 0px 9px;"><b>High speed license included</b></li>
<li style="color: #404040; margin: 0px 0px 9px;"><b>Lens metadata for efficient VFX</b></li>
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<li style="color: #404040; margin: 0px 0px 3px;">LDS PL Mount on all XT models</li>
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<li style="color: #404040; margin: 0px 0px 9px;"><b>Comfortable, flexible new viewfinder mounting</b></li>
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<li style="color: #404040; margin: 0px 0px 3px;">Viewfinder Mounting Bracket VMB-3</li>
<li style="color: #404040; margin: 0px 0px 3px;">Strong and rigid construction</li>
<li style="color: #404040; margin: 0px 0px 3px;">15 mm lightweight rods hold viewfinder mount</li>
<li style="color: #404040; margin: 0px 0px 3px;">Rods can take lens motors, matte boxes, follow focus etc.</li>
<li style="color: #404040; margin: 0px 0px 3px;">Special hard, low friction anodizing on all moving parts</li>
<li style="color: #404040; margin: 0px 0px 3px;">Built-in bubble level</li>
<li style="color: #404040; margin: 0px 0px 3px;">New Viewfinder Extension Bracket VEB-3 (separate accessory)</li>
<li style="color: #404040; margin: 0px 0px 3px;">New, sturdy VEB-3 design</li>
<li style="color: #404040; margin: 0px 0px 3px;">Viewfinder rests on camera through VEB-3 fold out arm</li>
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<li style="color: #404040; margin: 0px 0px 9px;"><b>Super silent XT Fan</b></li>
<li style="color: #404040; margin: 0px 0px 9px;"><b>XT-spec upgrades for existing ALEXAs</b></li>
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<li style="color: #404040; margin: 0px 0px 3px;">Separately available upgrades include: the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, XT Fan and the anamorphic de-squeeze and high speed licenses.</li>
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<span style="color: #404040;">Some more links...</span></div>
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<span style="color: #404040;"><a href="http://www.hollywoodreporter.com/news/unfinished-arri-reveals-new-model-422641" target="_blank">Hollywood reporter</a></span></div>
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<span style="font-size: xx-small;">http://www.hollywoodreporter.com/news/unfinished-arri-reveals-new-model-422641</span></div>
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<a href="http://www.studiodaily.com/2013/02/arri-announces-new-alexa-xt-camera-line-up/" target="_blank">Studio Daily</a></div>
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<span style="font-size: xx-small;">http://www.studiodaily.com/2013/02/arri-announces-new-alexa-xt-camera-line-up/</span></div>
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<a href="http://news.creativecow.net/story/870623" target="_blank">Creative Cow news</a></div>
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<span style="font-size: xx-small;">http://news.creativecow.net/story/870623</span></div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com1tag:blogger.com,1999:blog-20814303.post-27417732289166678082013-01-29T20:38:00.003+05:302013-01-29T20:38:50.763+05:30DIT in India<div dir="ltr" style="text-align: left;" trbidi="on">
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For a while now I've heard from DoPs and cinematographers in India shooting movies on digital cameras - Alexa, Red, Sony Canon etc - requesting the services of a DIT "just like in Hollywood". Which basically means what they read about on the net, in forums, and in American Cinematographer.</div>
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I run a small company that provides data management and workflow guidance services for feature films in India - called <a href="http://www.postblackbox.com/" target="_blank">Post BlackBox</a>. And we are often asked to provide DIT services in addition to data wrangling and conversion that we do. We would love to.</div>
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I've worked on one movie with a 'real DIT' and have shot in the US and conversed with DITs there, so I've examined this in relation to how we make movies and the kind of post services available here for digital workflows.</div>
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Incidentally, for an explanation on dailies, video assist, and the 'look' in digital movie-making, check out an <a href="http://neilsadwelkar.blogspot.in/2012/11/video-assist-dailies-and-looks-in.html" target="_blank">earlier post I wrote</a> on this.</div>
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<b><i>What's a DIT</i></b></div>
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For a definition of a DIT, check <a href="http://en.wikipedia.org/wiki/Digital_imaging_technician" target="_blank">wikipedia</a>…</div>
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<span style="font-size: xx-small;">http://en.wikipedia.org/wiki/Digital_imaging_technician</span></div>
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and many <a href="http://www.arridigital.com/forum/index.php?PHPSESSID=p6rird78fdt6ndj1kodk52h4b5&topic=6845.0" target="_blank">debates like these</a>…</div>
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<span style="font-size: xx-small;">http://www.arridigital.com/forum/index.php?PHPSESSID=p6rird78fdt6ndj1kodk52h4b5&topic=6845.0</span></div>
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and a very <a href="http://magazine.creativecow.net/article/a-dit-tells-all" target="_blank">informative article at the Creative Cow</a>…</div>
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<span style="font-size: xx-small;">http://magazine.creativecow.net/article/a-dit-tells-all</span></div>
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<b><i>What a DIT does</i></b></div>
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So let me first set up what a DIT typically does. And how that fits in the general post-production workflow.</div>
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On a movie set where a feature (or TV show, docu, ad film etc) is being shot on a digital camera, a DIT…</div>
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<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Copies camera footage from camera cards/disks to multiple disks before the card/disk is erased and reused.</li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Verifies that these copies are fine compared to the original which will be erased.</li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Shows the DoP what his material will look like in post. So the DIT carries a good calibrated monitor or can calibrate the monitor that came with the camera.</li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Makes color adjustments to the camera picture either off a live video feed, or on shot material. This is 'setting a look' similar to doing one-light rushes in the film days.</li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Has access to and is knowledgeable about LUTs and conversion of a variety of log an other color spaces to 'normal' color.</li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Has instruments (waveform/vectro/histogram) that can analyze the camera image and hence advice on aperture and exposure setting. The Cinematographer takes this advice seriously.</li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Sets up timecode and sync between camera and sound. </li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Is knowledgable on menu settings and controls of most digital cameras. Or at least has access to camera manuals and can refer and find a fix if needed. Good DITs do refer to manuals, even in the field.</li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;">Can do conversions of camera raw formats to editable formats for FCP, Avid, or any other editing platform.</li>
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So a DIT is knowledgeable is on digital formats, and also has some sense of how film used to behave in different lighting situations. A DIT also has a good sense of post-production and editing and is often from an editing or post background. </div>
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So, the DIT is also a first step to post-production. So, in that sense he (or she) takes up some of the jobs that the post house would do. This is an area of debate with post houses trying to reclaim some of the tasks.</div>
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<b><i>Cost of DIT services</i></b></div>
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In Hollywood, a good DIT cart with equipment for all of the above DIT functions, rents out for about $ 1000 per day (equal to about Rs 56,000 per day). And a good DIT charges between $ 500 to $1000 per day (equal to about Rs 28,000 to Rs 56,000 per day) excluding gear.</div>
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So, we are looking at about Rs 80,000 to Rs 1 lakh per day for DIT services by Hollywood standards. On a 50 day shoot, this amounts to probably more than what some of the senior members of the crew make in the average budget Hindi movie. </div>
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Clearly this is not affordable in India.</div>
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Check out what <a href="http://bigfootmobilecarts.com/BigFoot%20Mobile%20Models.htm" target="_blank">fully equipped DIT carts</a> look like…</div>
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<span style="font-size: xx-small;">http://bigfootmobilecarts.com/BigFoot%20Mobile%20Models.htm</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">This one is from Maxx Digital. A complete <a href="http://www.maxxdigital.com/assimilate-cart.html" target="_blank">mobile Scratch solution</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">Cost, about Rs 27 lakhs. </span></div>
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The cost of the equipment that goes into a DIT cart if obtained in India, would be in the range of anything between Rs 15-30 lakhs. Which makes it cost about as much as a good digital camera like the Alexa or Red Epic. So, even if one makes up a homegrown DIT system one would have to charge a rental of at least Rs 20,000 per day. </div>
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A trained DIT, of a cinematography or post background, would charge at least Rs 10,000 per day. So that makes the total, DIT services and gear, to at least Rs 30,000 per day. Or, Rs 15 lakhs for a 50 day shoot. Plus assistants, flights, hotel, local travel, hard disks.</div>
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So, is even this affordable?</div>
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<b><span style="font-size: x-small;"><i>DIT vs post house</i></span></b></div>
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In Hollywood and even Europe/UK, post houses charge for post services before edit. Data conversions, file management, backup etc - all before the edit starts. And this charge is pretty hefty. So the cost of a DIT in Hollywood is in comparison to these costs.</div>
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In India, the cost of DI is so small in comparison, and competition so fierce between DI studios, that some of the services offered in Hollywood are often thrown for free if the DI is done with them. So, Rs 30,000 ($ 500) per day for a DIT is also probably unaffordable. When the entire DI process costs as less as Rs 5 lakhs ($ 8000) to 'as much' as Rs 15 lakhs ($ 25,000). </div>
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Just $8,000- $25,000 for Spirit 4k scanning, conform, Baselight8 grading, Arrilaser film out, SD and HD-SR tape deliverables... everything, taking up to 3 months of post work. If you push it, then the data conversions are thrown in for free too.</div>
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<b><i>Storage costs</i></b></div>
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In addition to DIT services, disk storage is borne by the production in Hollywood. This cost is about the same in India. Working out to anything between Rs 5 to 20 lakhs for good quality hard disks, and RAID drives which the production has to bear anyway. </div>
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In India, productions then bring down the services of the data management team. So, for basic data management services, I've found even Rs 8,000 ($ 130) per day is often not accepted. DIT services are nowhere near affordable for these kind of rates.</div>
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<b><i>Workflow</i></b></div>
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The ideal DIT workflow requires time to set up the cameras, monitors, scopes and timecode. Directors often get impatient as now, apart from lighting and actor delays there are these 'set the look' delays. So they prefer to postpone this to the DI stage. </div>
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<b><i>DIT in India</i></b></div>
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But there's still hope for DIT services. Particularly for smaller budget movies where getting the look right in the shoot stage is more crucial as they don't have the time for reshoots, or for an extended DI. Nor do they have time and budget for elaborate lighting setups. So in these situations having some rudimentary DIT services can affect (positively) how the movie turns out.</div>
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So, while a full blown DIT cart and fully trained DIT is not affordable (someone please prove me wrong), a more basic setup with capabilities nearly as in a 'proper DIT' can be made possible. If the budget can go up to at least Rs 15,000 per day, a DIT can make a difference. </div>
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He or she can work closely with the editor and colorist so this can be a end-to-end service which integrates DIT, editing, and color grading - the entire post cycle. Then it could make sense, economically and aesthetically. If that makes it look interesting, then one could take a closer look at providing these services.</div>
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com1tag:blogger.com,1999:blog-20814303.post-32629515820632662352012-12-08T09:46:00.000+05:302012-12-08T10:04:43.282+05:30What's the scene with FCP now?<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"what's the scene with FCP now?"</span></i></b><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">or</span><br />
<b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"I heard 'they' are stopping FCP". </span></i></b><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These are the commonest queries I get when the topic of an edit system comes up.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So, here's the status on FCP 7 as of Dec 2012. And if the world really ends on the 21st Dec 2012, none of this will matter.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FCP was introduced around the year 2000, and over the past decade has been through version 1,2, 3, 4, 5, 6, and 7. Each time a new version was released, Apple stopped selling the earlier version. So when FCP 6 was released, FCP 5 was discontinued.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Last year, Apple discontinued FCP 7 and released FCP X. FCP X was not the next version of FCP, but a whole new application. It did not support many of the existing editing workflows but instead made an attempt to revamp the entire editing interface and methodology. There were many debates on whether this was good or not. And the debates will never stop.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Personally, I've bought FCP X and use it for some personal projects. With the latest version FCP X 10.0.6, Apple has covered many deficiencies, but a few remain. So I use both FCP 7 and FCP X. And I have apps that can move project from one to the other.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So, FCP 7 and FCP X work and will continue to work. If you own FCP 7 and its working on a system, it will continue working. If you buy a new system, you can install and continue to use FCP 7. Whatever bugs and issues there are in FCP 7, will remain and there will be no updates.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">When Maruti introduced the Estilo, they discontinued the Zen. Meaning you could no longer buy a Zen. If you already had a Zen, it did not stop working and you can still drive it around. Eventually, over years, some parts will not be available. And you may need to stop using the Zen and get something else. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">That's exactly how it is with FCP 7. Discontinued from selling, but working if sold earlier.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">My earlier blog posts on FCP X</span><br />
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<a href="http://neilsadwelkar.blogspot.in/2012/05/so-where-are-we-on-fcp-x.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So where are we on FCP X?</span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://neilsadwelkar.blogspot.in/2012/05/so-where-are-we-on-fcp-x.html</span></div>
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<a href="http://neilsadwelkar.blogspot.in/2011/07/fcp-x-cannot-yet-do-2425-film-editing.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FCP X cannot (yet) do 24@25 film editing</span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://neilsadwelkar.blogspot.in/2011/07/fcp-x-cannot-yet-do-2425-film-editing.html</span></div>
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<a href="http://neilsadwelkar.blogspot.in/2011/07/apple-fcp-x-remedies.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Apple FCP X remedies?</span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://neilsadwelkar.blogspot.in/2011/07/apple-fcp-x-remedies.html</span></div>
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<a href="http://neilsadwelkar.blogspot.in/2011/07/how-fcp-x-will-really-matter-to-india.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">How FCP X will really matter to India</span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://neilsadwelkar.blogspot.in/2011/07/how-fcp-x-will-really-matter-to-india.html</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Some other interesting links for FCP X…</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-decoration: underline;"><a href="http://www.philiphodgetts.com/2012/10/final-cut-pro-x-10-0-6/">Philip Hodgetts review</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://www.philiphodgetts.com/2012/10/final-cut-pro-x-10-0-6/</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-decoration: underline;"><a href="http://www.fcp.co/final-cut-pro/news/951-apple-release-final-cut-pro-10-0-6-and-motion-5-0-5">FCP.co review</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://www.fcp.co/final-cut-pro/news/951-apple-release-final-cut-pro-10-0-6-and-motion-5-0-5</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-decoration: underline;"><a href="http://support.apple.com/kb/HT5550?viewlocale=en_US&locale=en_US">Moviemaker take</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://www.moviemaker.com/editing/article/we_make_movies_better_giving_fcpx_another_chance_20121203/#postacomment</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-decoration: underline;"><a href="http://support.apple.com/kb/HT5550?viewlocale=en_US&locale=en_US">Apple knowledge base article on FCP X 10.0.6</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://support.apple.com/kb/HT5550?viewlocale=en_US&locale=en_US</span></div>
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<b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For those who have no clue on the Mac, MacOS X, and the relation to PCs running Windows…</span></i></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FCP or Final Cut Pro is an editing software, not a complete system. It runs on Mac computers - MacBook, MacBook Pro, iMac, Mac mini, MacPro. Meaning, it will not run on Windows or on PCs running Windows. No, it will not run on your friend's Dell laptop,</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">MacOS X is an operating system like Windows. But unlike Windows, MacOS X runs only on Mac computers. MacOS X does not run on PCs from Dell, Lenovo, Acer, etc.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">MacOS X is needed to run FCP.</span><br />
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Neil Sadwelkarhttp://www.blogger.com/profile/05798542109743628554noreply@blogger.com0