It seems it isn’t even really a 4 nanometer process, but an enhanced 5 Nanometer Process, just running faster with faster memory, but with none of what was expected for the A16.
And if the true A16 is delayed, it also might explain why the M2 for the MacPro is delayed and why Apple might not hit the 2 year mark on the Mac Pro moving to Apple Silicon.
So after all the bad press around this one, and the whole Covid thing we stayed away from the theaters for this one. And besides I can wait 45 days to see a movie on a streaming service that I already have, still this would have been fun in the theater, honestly I really enjoyed the film. Sure it was really silly, but I enjoyed, even if Christian Bale’s Gorr the God Butcher needed more screen time, and I honestly could have seen a full film with fat Thor and the Guardians of the Galaxy.
What I really want to talk about though, is a couple of things from the behind the scenes.
The first is the blue screen. It looks like they did all blue screen instead of green screen (the norm for digital, but it reflects less light for spill), but what really blew me away was not just how inconsistent the screen was, with many layers and edges. And even more so was the fact that Thor’s army had blue elements, and they shot it on a blue screen! Now I have seen that done with the blue changed to another color so it can be changed in post, but with the blue on blue and an inconsistent blue screen they must be rotoscoping every frame? ARE THEY INSANE? I mean this be part of the whole Marvel Mistreating VFX artists. Why not use Green Screen, or change the color of the blue?
I wish that CINEFEX still existed!
The next thing was the sequence on the small Asteroid in the shadow realm, with the crazy lighting from it going around it’s sun so quickly. They used this tech PlateLight, which allows for multiple lighting setups to be shot at the same time.
I would love to see an explanation of how this is working. I am assuming it is a special camera and sensor, but how does it then match with other footage (maybe fine because of the B&W nature of this scene).
Honestly it is mostly about keeping compatibility with Thunderbolt devices, for those who have them, and I have a lot of them, and so I need compatiblity and not just with the connector, so lets hope Intel keeps the licensing prices inexpensive, so that machines are both thunderbolt 4 and USB 4.
And I think the problem is obvious. Color bays are too dark and they use too good screens in the dark. That is absolutely fine for films which are meant to be seen in a darkened room, but homes have light, and most people don’t watch television in the dark.
Honestly there should be a higher level of ambient light in editing bays for TV, to take account people have lights on in their house. And have a consumer display to finish to as well, to check how it looks.
I know on these signature shows they want you to turn off the lights and only pay attention to it, but that isn’t an option for everyone.
And if there are significant complaints, you are doing the grade wrong. You need to remember this is going to be viewed by people at home, not in a darkened theater!
OWC makes great stuff from hard drives, to the awesome SoftRaid, though I do hate to see them moving to a subscription model, as this is $99 for a year and $49 after the first with a 14 days free trial. Check it out here.
Autokroma has some great customer support and sent me out beta versions and fixed the issues I had been having with BRAW Studio in After Effects.
This was the glitch I was having that they quickly fixed,
Now I am still having some problems between ProRES RAW 6K, BRAW Studio, and Maxon Primatte Keyer 6. I think my iMac Pro may be having some serious issues, after all it is getting old and is likely full of dust. I also get the feeling that nothing was every optimized for the Radeo Pro Vega 64X 16 GB, as it came out at the end of the lifecycle.