CS5 Production Premium Suite
Posted 10 December 2010 - 02:49 PM
Posted 11 December 2010 - 01:26 PM
First off, I have this tendency to assume that anyone who refers to his colleagues, unblinkingly, in print, and With Capitalisation, as the "Elite Team", is a bit of a tosser.
Second, there's an enormous amount of misinformation going on about this stuff. I'm particularly amused by this:
Adobe went to Canon and asked them to open up their color space to them so that they could do their best to understand it and to expand it. They worked together to find a cocktail to increase depth, dimension in this limitied 8 BIT compressed color space.
Look, is this the kind of vague, could-mean-anything yet simultaneously giddily ecstatic and upbeat bullshit you're required to come out with in order to be yelled at by Chri... in order to become a successful DoP?
What does this mean, Shane? Do you understand what a "color space" actually is, in this context?
Unfortunately I'm currently being clobbered by the Premiere "never-ending preview render" glitch, which has been extant since at least CS3, but since I'm not being paid by Adobe I'm free to actually say so. Immediately I can clear this glitch, I'll post some footage...
Posted 13 December 2010 - 07:49 PM
Shane's a bit over the top with his "Elite Crew" description but I think it's his way of recognizing the contributions of the other Cinematographers and crew members that regularly work with him on his HDSLR projects.
Given that Shane was Canon's star HDSLR presenter at NAB this year, he's probably as in the loop with respect to what's going on between companies like Canon and Adobe as anyone. There's a lot of NDA action going on behind the scenes as a result of how fast the HDSLR world has been evolving and how competitive it's gotten. Even a mere mortal like myself without august letters like ASC, BSC, etc. after his name was somewhat in the loop this year with respect to attempts to develop follow focus systems that talked directly to the electronics in Canon lenses.
Posted 13 December 2010 - 08:16 PM
Posted 13 December 2010 - 10:55 PM
Nor did they count on backlash. The only way to make it work IM(not)HO would be to use a LUT that related not only the desired focal distance to some internal Canon offset but also whether or not it was being approached from near or far.
Ho ho ho. Did they yet realise that many EF(S) lenses don't actually have a 1:1 relationship between the reported encoder position, and the focus distance?
And...Of course the values in that LUT would be unique to each model lens, possibly to each individual example of that lens on a specific camera body.
Posted 04 March 2011 - 10:18 AM
Is THIS the solution to real time editing of h264 files come out of 5d/7d cards?
Or does one want to convert to 10 bit based avi's using something like the Matrox MX02 interface and allegedly have more flex in tweaking files in the edit?
My questions relate to research into upgrading into HD editing on a laptop, no bother whether it's Windows or Mac OS, as long as it works hehe!!!! LOL to death ;D
Look forward to the rant...