Topics

Scratch Play Pro

Geoff Boyle
 

I've been using this for a while now and have subscribed.
For all of you using Windows this is an essential, once you get your head around the interface, and it hasn't changed since I last used Scratch over ten years ago, it's a really simple way to generate ProRes.
I render out DNxHR 444 12 bit in Resolve and load that into Scratch, about twice the clip length later I have ProRes 444.

Simple

Geoff

Jeff Kreines
 

Geoff:

That’s pretty exciting. Is it real ProRes or ffmpeg ersatz ProRes?

So why can’t Blackmagic do this?

Happy to see it supports CineForm RAW. 

Thanks,

Jeff

Jeff Kreines

Sent from iPhone. 

On Aug 27, 2018, at 7:44 AM, Geoff Boyle <geoff@...> wrote:

I've been using this for a while now and have subscribed.
For all of you using Windows this is an essential, once you get your head around the interface, and it hasn't changed since I last used Scratch over ten years ago, it's a really simple way to generate ProRes.
I render out DNxHR 444 12 bit in Resolve and load that into Scratch, about twice the clip length later I have ProRes 444.

Simple

Geoff

Geoff Boyle
 

It’s real ProRes, apparently Assimilate got a license from Apple!

 

cheers
Geoff Boyle NSC
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

 

 

From: cml-post-vfx-aces@... <cml-post-vfx-aces@...> On Behalf Of Jeff Kreines
Sent: 27 August 2018 15:17
To: cml-post-vfx-aces@...
Subject: Re: [cml-post-vfx-aces] Scratch Play Pro

 

Geoff:

 

That’s pretty exciting. Is it real ProRes or ffmpeg ersatz ProRes?

 

So why can’t Blackmagic do this?

 

Happy to see it supports CineForm RAW. 

 

Thanks,

 

Jeff

Jeff Kreines

 

Sent from iPhone. 


On Aug 27, 2018, at 7:44 AM, Geoff Boyle <geoff@...> wrote:

I've been using this for a while now and have subscribed.
For all of you using Windows this is an essential, once you get your head around the interface, and it hasn't changed since I last used Scratch over ten years ago, it's a really simple way to generate ProRes.
I render out DNxHR 444 12 bit in Resolve and load that into Scratch, about twice the clip length later I have ProRes 444.

Simple

Geoff

Seth Goldin
 

I believe Apple doesn't want to license it to those apps that would be competing directly with FCPX and/or the Mac. It's safe to say that neither a $30,000 Resolve Advanced Control Panel on Linux nor Scratch Play Pro are competing with FCPX.


On Mon, Aug 27, 2018 at 10:15 AM Geoff Boyle <geoff.cml@...> wrote:

It’s real ProRes, apparently Assimilate got a license from Apple!


From: cml-post-vfx-aces@... <cml-post-vfx-aces@...> On Behalf Of Jeff Kreines

That’s pretty exciting. Is it real ProRes or ffmpeg ersatz ProRes?

 

So why can’t Blackmagic do this?

Michel Suissa
 

ProRes export on Windows with Assimilate SCRATCH is an Apple licensed ProRes, not ffmeg. Has been for a few years now. 
--
Michel Suissa 
The Studio-B&H

James Gardiner
 


Steps up onto rant box:
I would like to voice an opinion here of industry direction.  ProRes has done us well over the years, however, it has predominantly been used as a marketing and control mechanism for Apple to apply a walled garden approach to content production.
There are plenty of open source SMPTE endorsed codecs that are as good and better in many ways as the internals are well understood and transparent.  An example of this is SMPTE-VC5, a far - far more effective in compression and capabilities to ProResRAW.  However, Apple chose to implement a proprietary equivalent over a superior open standard.

 There has been many companies that have created ProRes toolsets for the industry, but they all seem to "vanish without trace" after getting reasonable traction.
As a business owner that is not only technical, but has some understanding of IP and licensing, it is unwise to utilise proprietary codecs for masters, as one day, accessing those masters "could" become a licensing issue.
I know Apple makes it easy if you use ProRes, but there is a method to this madness that must be understood.

There are reasons why IMF and other slated target mastering formats utilise non-proprietary codecs.  (Altho Apple is pushing its way in and paying to make sure ProRes is be part of this too as it will undermine a great source of market control they have if the industry moves away from its proprietary codec.)

You may just be from a small edit shop and all you care is to get the job done with great creative work, on time and under budget.  But please do keep this in mind as long term it may have a detrimental effect on the masters and original source files of the content.

I would strongly suggest moving away from Proprietary codecs when possible going forward.

Altho VC5 is ratified, it has failed to gain traction.  I would suggest you ask vendors why.  Other important developments that will affect this market is an expansion on JPEG2000 with super hi-speed but 10-20% bigger files.  Making it a usable mezzanine codec and not only a distribution codec that is used in Digital Cinema and IMF deliverables.
Thanks for listening.

Step down from Rant Box:

Regards,
James Gardiner
[m] +61 4 12 997011
 
digitAll pty ltd / Finishing Room / ClubMovie / CineTechGeek
Development Office
Suite 129, 9 Hall Street,
Port Melbourne, VIC 3207
[p] +61 3 9686 5415
 
www.digitall.net.au  -- www.finishingroom.com.au -- www.clubmovie.com.au -- www.cinetechgeek.com


On Tue, Aug 28, 2018 at 11:58 PM Michel Suissa <michel@...> wrote:
ProRes export on Windows with Assimilate SCRATCH is an Apple licensed ProRes, not ffmeg. Has been for a few years now. 
--
Michel Suissa 
The Studio-B&H

Bob Kertesz
 

I've posted about this several times here on CML, that having the biz relying so heavily on a licensed codec owned by a somewhat mercurial and highly profit motivated company like Apple was not a good idea.

My posts have all been met with either the sound of crickets, or people pooh-poohing the idea that those wonderful people at Apple would ever do anything to make everyone regret using their proprietary codec.

So while I agree with you about how queasy this should make people feel, I'll be surprised if the idea gains much traction here. People want to shoot RAW or ProRes, and that seems to be that.

With its universally accepted format for interchange, ProRes has become the Lingua Franca of the biz, and it's going to be very difficult to change that if Apple doesn't do anything to piss people off enough to look at alternatives.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

DIT, Video Controller, and live compositor extraordinaire.

High quality images for more than four decades - whether you've wanted them or not.©

* * * * * * * * * *

On 8/28/2018 6:04 PM, James Gardiner wrote:

Steps up onto rant box:
I would like to voice an opinion here of industry direction.  ProRes has done us well over the years, however, it has predominantly been used as a marketing and control mechanism for Apple to apply a walled garden approach to content production.
There are plenty of open source SMPTE endorsed codecs that are as good and better in many ways as the internals are well understood and transparent.  An example of this is SMPTE-VC5, a far - far more effective in compression and capabilities to ProResRAW.  However, Apple chose to implement a proprietary equivalent over a superior open standard.

 There has been many companies that have created ProRes toolsets for the industry, but they all seem to "vanish without trace" after getting reasonable traction.
As a business owner that is not only technical, but has some understanding of IP and licensing, it is unwise to utilise proprietary codecs for masters, as one day, accessing those masters "could" become a licensing issue.
I know Apple makes it easy if you use ProRes, but there is a method to this madness that must be understood.

There are reasons why IMF and other slated target mastering formats utilise non-proprietary codecs.  (Altho Apple is pushing its way in and paying to make sure ProRes is be part of this too as it will undermine a great source of market control they have if the industry moves away from its proprietary codec.)

You may just be from a small edit shop and all you care is to get the job done with great creative work, on time and under budget.  But please do keep this in mind as long term it may have a detrimental effect on the masters and original source files of the content.

I would strongly suggest moving away from Proprietary codecs when possible going forward.

Altho VC5 is ratified, it has failed to gain traction.  I would suggest you ask vendors why.  Other important developments that will affect this market is an expansion on JPEG2000 with super hi-speed but 10-20% bigger files.  Making it a usable mezzanine codec and not only a distribution codec that is used in Digital Cinema and IMF deliverables.
Thanks for listening.

Step down from Rant Box:

Regards,
James Gardiner
[m] +61 4 12 997011
 
digitAll pty ltd / Finishing Room / ClubMovie / CineTechGeek
Development Office
Suite 129, 9 Hall Street,
Port Melbourne, VIC 3207
[p] +61 3 9686 5415
 
www.digitall.net.au  -- www.finishingroom.com.au -- www.clubmovie.com.au -- www.cinetechgeek.com