So is Apple‘s 18-Core iMacPro worth it?
In short: YES – if your software can take advantage of it. That’s the KEY.
But just as key: the 10-core iMac is really at the sweet spot of what the vast majority of users will likely ever need. It’s a little beast!
Final Cut Pro X is clearly designed to take FULL advantage of the 18 cores, whereas DaVinci Resolve is several times slower on similar exports (as much as 5 times slower) and unfortunately Adobe Premiere is currently not even on the same racetrack…
The results continue to be seriously impressive especially for those transcoding high resolution and RAW coded footage or using processor intensive VR footage for example.
The best way I can illustrate this is by sharing the following test:
1. I started off w/ 62GB RED Digital Cinema R3D 6 K files totaling 8 min 21 seconds of aerial footage.
2. I loaded the footage into the latest Final Cut Pro X version and asked it to generate: Optimized Video + Proxies.
Here are the results of how much time that took:
1. iMacPro 18-Core: 25 min 17 seconds to generate both Proxy + Optimized Video
2 I then exported the 8 min+ timeline as a 4K ProRes444 file in 8 min 20 seconds … that’s 1:1 on RED footage (nice!!!)
At this point:
– The 10-core iMac Pro was anywhere from 10-80% slower depending on how the software took advantage of the 8 additional cores and the process.
With software such as Adobe Lightroom the difference was negligible- whereas w FCPX transcoding it was as much as 80% faster due to the 8 additional cores.
– The top-of-the line Mac Pro was still transcoding (generating the initial first of three steps: generating proxy and optimized media for the → continue…
From:: Vincent Laforet
In episode 35:
We know… it’s a little late for the first episode of the new year, but we do hope all of you are having a busy start to 2018!
The BSC Expo in London has now become our first “must go to” event of every year and 2018 certainly had a great buzz about the place with new camera launches and plenty of desirable gadgets. We talk to Barry Griffin from Canon, get surprised by RAW, and of course, reveal the Alexa LF with Marc Shipman-Mueller from Arri.
After 90 years, the 2018 Oscars have finally nominated a female cinematographer. Rachel Morrison could make history, but we wonder why hasn’t there been more?
With new toys, a new studio and a touch of decorating, we hope you enjoy this packed episode.
Steve & Paul
Available on ExtraShot.co.uk
Available on iTunes
ExtraShot on YouTube
ExtraShot on facebook
Arri Alexa LF
Tokina 1.6x Expander
Intel – Olympic drones
Rachel Morrison – 2018 Oscars
Kinefinity – Terra 4K
From:: Extra Shot
RawDigger and FastRawViewer have released the beta version of an application called DPRSplit, designed for Canon 5D Mark IV owners. With DPRSplit, photographers can input a CR2 file from a Canon 5D Mark IV and then extract a second image from it, one with an exposure value that is about one stop lower than the original CR2 image.
This utility works only if the camera’s Dual Pixel RAW mode was enabled when the shots were taken.
Canon explains how this technology works on its website:
The Dual Pixel sensor’s pixels have a dual photodiode construction. This sensor design means the sensor can receive an A and B signals from the subject and to detect any phase differences between the two signals, allowing them to attain focus as part of the Dual Pixel AF system … During Dual Pixel RAW shooting, a single RAW file saves two images into the file. One image consists of the A+B combined image data and the other only the A image data.
Photographers benefit from this technology by using Canon’s Digital Photo Professional software, which enables users to make “microadjustments” to focus, bokeh shift, and reduce ghosting. However, the software doesn’t enable users to extract both images from the CR2 file separately—that’s where DPRSplit comes in.
With this utility, photographers get access to that second frame, which has half the light of the composite image. This means that, in essence, the camera is automatically capturing two shots, bracketed by about 1EV.
Extracted images are saved as DNG files for editing with any software that supports the format, so you can blend the images back together and get about +1EV more usable dynamic range. And since the exposures are captured simultaneously, you don’t have to worry about → continue…
If you’re looking to get into professional beverage photography—and specifically tap into the market for professional beer photography—this course from RGG EDU is a godsend. Produced by RGG and photographer Rob Grimm, the 8+ hour course covers everything you need to know. And the best part? This course, which usually retails for $300, is being given away 100% free.
As with all free offers like this, you’ll have to put in your personal info at checkout, but you can uncheck the “keep me up to date on news and exclusive offers” checkbox and avoid the marketing emails if you’re not keen on those.
The process takes just a few clicks—we went through it ourselves to check that it actually works—and once you’re done, you’ll get an email with a bespoke download link that gives you access to all 25 chapters of photography and retouching tutorial content, 27 RAW files, four full photo shoots, and access to a private Facebook group where you can chat with fellow members of the RGG community about the stuff you’re learning.
Here’s RGG’s description of the course:
In this tutorial, you will see Rob’s entire process for creating beverage images by breaking the composition down into its parts and obsessing over the details. You will learn the foundations of beverage photography from capturing a bottle on white, photographing cocktails including drink styling, proper use of ice, realistic condensation, creating appetite and appeal, and the use of duratrans to make an image that appears to be shot on-location with all the control of a studio.
Rob will share with you his method for generating portfolio ideas that will make you rethink your entire approach to creating images. Finally, world-renowned retoucher Earth Oliver, will walk you → continue…