Macbook pro video editing specs online,what is best for video editing pc or mac,video editing with macbook air - Videos Download

With all of that said, the pricing structure for the Surface Book can only be described as premium. So now let's talk about the Surface Book's potential as an editing laptop, and why it stands out from other comparably-priced machines.
In Adobe's latest update, Premiere Pro, After Effects, and Character Animator all implemented some variation of touch gestures and interactivity into their interfaces.
While there are definitely other Windows-based touchscreen computers and tablets out there, the Surface Book is among the first that you would actually want to use for serious video production (thanks to the significantly higher specs and dedicated GPU).
Still with that amount of money you can get a killer gaming laptop that has way better specs. Well that wasn't a fair comparison, since it's comparing a high end 15" Macbook Pro Retina instead of a high end 13" MBPR vs the Surface Book.
It's fair considering the surface pro they tested is more expensive than the MacBook Pro (The Surface Pro is 2700).
Guys, the Surface Book is supposed to compete with the 13" MacBook Pro not the 15" one; please, use your common sense. This is one speculative review and therefore useless reporting that causes more harm than good. I do not think touchscreens in their current state work very well for After FX or video editing.
With USB-C becoming the new USB standard, there's a serious need for USB-C to USB adapters and cables. I am selling my 15 inch MacBook Pro, which I purchased in 2012 for $2,000.00, with all its accessories.
I have for sale a mid 2014 15 inch MacBook Pro with retina display that is in perfect condition.
This Lenovo Thinkpad Edge E440 laptop was purchased as a spare about 1 year ago but never used. LED backlighting is touted as a breakthrough flat panel display technology, owing to its promise of a wider colour gamut, more even screen illumination, longer display life and greater power efficiency. Light Display: A MacBook Pro 15 inch with LED-backlit screen, surrounded by monitor calibration hardware. All this changed for us with the introduction of new Apple Powerbook G4 models in the spring of 2002. Apple continued to use this display, or at least equally photo-friendly ones with the same 1280 x 854 pixel resolution, through numerous subsequent revisions of Titanium- and Aluminum-encased 15-inch Powerbook models.
But by 2005, things had improved on the PC side too, thanks to improvements in the 1280 x 800 pixel and 1440 x 900 pixels screens found in practically every maker's 15.4-inch and 17-inch laptops at that time. While laptop screens didn't yet deliver the colour fidelity and fairly even brightness of better desktop flat panels, we encountered plenty that crossed the threshold of usability for image assessment and even basic image editing in the field. Shortly before the Powerbook G4 line was retired, Apple introduced new 15 inch and 17 inch models with revised, higher-resolution displays.
We judged the results, then immediately yearned for the return of Apple's older 1280 x 854 pixel screen.
On their own, none of these deficiencies was a deal-stopper, and even together, these screen deficiencies didn't mean the displays were terrible, like in the early days of digital. Which is why we've been eagerly awaiting the introduction of MacBook Pros with LED backlighting. We came at it armed with four monitor calibrators and as many calibration software packages, but we needn't have.
It's still not up to the quality of a desktop display, for several reasons, including the fact that a couple of colour quirks remain - things that are a deep orange are rendered as a deep red, for example, regardless of calibration - and the screen still suffers from the narrow viewing position problem of its predecessor, though because it's relatively free of oversaturated colour weirdness, the colour shifts brought about by changes in head position are less noticeable and less troublesome. Then, we put up the same collection of 45 photos on each computer, ones we've amassed over the years to check out monitors. The inescapable conclusion is this: calibrated and profiled as described above, the screens in the older 15-inch and 17-inch MacBook Pros don't quite cut it, but the new MacBook Pro 15 inch model with LED backlighting displays colour that's pleasingly close to the mark. Overall, the new laptop's display surpasses our previous standard bearer, the very good 1280 x 854 pixel display in the Powerbook G4 15 inch of yesteryear. We mentioned off the top that a potential advantage of LED-backlit displays is a wider colour gamut.
The gamut plot on the left is a representation of the MacBook Pro 15 inch with CCFL backlight; on the right is that of the MacBook Pro 15 inch with LED backlight. While big gamut gains may be found in the few present and many future desktop displays sporting LED illumination (and this is probably especially true of those with tricolor LEDs), the LED-backlit display in the new 15-inch MacBook Pro only brings about an incremental improvement in colour gamut. The good news doesn't stop there: in the course of testing the new MacBook Pro, we stumbled across a counterintuitive way to calibrate older MacBook Pros that happens to eliminate their key colour quirks, which in turn moves them back into the suitable-for-viewing-and-basic-editing category.
Once you've completed the calibration and saved a profile to your system, set the Brightness slider in Displays back to the position you noted in step 2.
With both the second-generation 15-inch and 17-inch MacBook Pros, performing the calibration this way eliminated several of the colour accuracy gripes we've had with these displays, and was repeatable with more than one monitor calibration package, so it's likely not a fluke but rather a way to work around something strange about how these displays respond to profiling when their CCFL backlight is dimmed first.
By our own subjective standard of acceptability, the older machines' displays now pass the test when profiled this way. Note: The trick described in this section should work with first-generation MacBook Pros as well, since we've previously found their screens to profile the same as second-generations ones.
This wasn't meant to be a test of monitor calibration packages but of the new MacBook Pro's display, so we stopped short of trying all possible hardware and software combinations, including the Eye-One Pro with ColorEyes Display Pro, which should work at least as well as this instrument does with its own software.
Non-glossy displays have been in all the various MacBook Pros we've calibrated and profiled over time, prior to and for this article, so if your MacBook Pro has Apple's optional glossy surface it may respond differently to calibration. All pictures used for evaluation were shot with Canon and Nikon digital SLR cameras; most were in the Adobe RGB colour space.

Thanks to Peter Jeune and John Melnyk for the loan of their new and old MacBook Pro 15 inch computers, and thanks to Gary Astill of Lastolite for the superb Studio Cubelite product photography kit - used for the lead picture in this article - to replace our decaying home-grown setup.
The new Surface Book, however, is definitely worth talking about, particularly for editors. The Surface Book is equipped with a fantastic 13.5-inch IPS display, coming in a resolution of 3000x2000 and a PPI of 267. The base model — with an i5 processor, 8GB of RAM, 128GB of storage, and no dedicated GPU — comes in at $1500.
In all of the reviews that I've come across thus far, the overwhelming consensus is that the display is far and away the best aspect of this device. Adobe seems to be counting on the idea that more and more computers will have touchscreens as we move into the future, and they're trying to give more tactile ways to interact with their software.
As for how and why you'd incorporate the touchscreen into an editing workflow, my inclination is that it would be great for skimming through media, marking ins and outs, and building simple rough cuts. The Surface Pro they tested has similar specs (16 gb ram, 512 GB SSD) but it lacks the processor power or the GPU of the MacBook Pro. Last time I checked, the 13" MacBook Pro was also dual core and didn't feature discrete graphics. There is a review where the guy bought the most expensive 2700 bucks Surface Book and Macbook Pro that was 200 bucks cheaper. The surface book and surface pro come with a load of functionality via the stylus and touchscreen in a portable package that you don't get with a Macbook.
I can build a 8 core 16 threaded machine with a 4k monitor and a 980ti that will kick this machine's teeth in for that price. If youa€™re struggling to choose between a Mac desktop or laptop, this feature will help you get the right Mac. If you're looking to buy your next Apple product or want to upgrade or customize, we're here to help you do it right. Plus, unlike the Cold Cathode Fluorescent (CCFL) illumination found in most flat panels today, LED is mercury-free. Back in the days when the big differentiating feature in laptop screens was whether they were passive or active matrix, the one thing all such displays had in common was their terrible colour. Earlier models in the same Titanium enclosures featured a 15.2-inch, 1152 x 768 pixel display that responded poorly to calibration (think purple highlights and green faces). They also introduced a 17-inch Powerbook G4, and its 1440 x 900 pixel screen was almost as good as its smaller 15-inch counterpart.
These displays (which probably came from no more than two or three laptop display suppliers), coupled with a new laptop calibration mode introduced in then-GretagMacbeth's Eye-One Match calibration software, meant for us anyway, laptop screen quality was something to relax about.
But we never did find a non-Apple laptop in this period that could quite match the overall level of colour quality of the Powerbook G4 15 inch's 1280 x 854 pixel display, and as a result we expected that Apple would continue to be the company to beat in this regard.
We never laid eyes on either one, so our brief history picks up again with the introduction of the MacBook Pro in the first half of 2006. The older display wasn't perfect - even when calibrated and profiled optimally, photos showed some posterization in deep shadows, midtones were a bit too light and the screen was uneven top-to-bottom, which made it important to find the same viewing angle each time. Various hues were wrong: skin tones were overly yellow-green, for example, and gray balance in light greys was a bit too far off. But it did push them over to the wrong side of the line of usability for photo viewing and editing. Not because LED illumination was going to automatically cure all, but because it represented an opportunity for Apple to get back to the business of making laptops with the best-available displays in their size. While cycling through the pictures, we compared each laptop's display to the other while also comparing all three to an Eizo ColorEdge CE240W (a display whose colour is poor when viewed off-angle but impressively accurate when looked at head-on). And while the new laptop has the same tight viewing angle as the older models, it's less of a problem in reality because of the aforementioned near-elimination of colour oversaturation problems. It calibrates equally well, has the same one or two minor colour quirks but shows smoother transitions into deep shadows and is much more even in brightness across the screen.
This is true of the LED-backlit screen of the new MacBook Pro 15 inch, but when compared to the CCFL-backlit screen of its predecessor, gamut volume has grown only from small to less small. If you hold your cursor over the left plot, it will change to show the gamut of the LED-backlit screen.
If your monitor calibration package allows for this, you can stop the calibration process once you've set the Brightness slider.
Keep the screenshot, since you may accidentally (or intentionally) adjust the screen brightness later, then need to set it back to the optimum position. It's more even in brightness across the entire display surface, deep, deep shadows are slightly more true, it has a somewhat wider colour gamut and it's likely to maintain usuable brightness for longer - perhaps years longer, based on some estimates - than a CCFL-equipped laptop display. What about the third-generation MacBook Pro 17 inch, introduced alongside the 15 inch LED model last month? Basically, Microsoft built a laptop for people who need powerful machines to get shit done. This makes it comparable, and even favorable, to the Retina Displays on the 13-inch Macbook Pros. When you start adding in the higher-end hardware like the i7 processors, dedicated GPUs, and more memory, that price starts to climb rapidly, going all the way up to $3200 for a version with 16GB of RAM, a 1TB SSD, an i7 processor, and the dedicated GPU. With hardware like this, particularly if you opt for one of the higher spec machines, you should be able to edit 4K video to your heart's content, do some light to medium compositing and color work, then export everything in reasonable time. Many are even going so far as to say that it's hands down the best display in a device of this size, thanks to its high resolution and wide color gamut.
Of course, you'd probably still want to do the majority of the editing and fine tuning with a mouse, rollerball, or keyboard, but the rough cutting process could be fun and tactile with a touchscreen.

It's fair as far as price goes and it proves one thing, this computer is not suited for intensive editing like a macbook pro is. I do find it odd, however, that Microsoft based an entire ad campaign on promoting the Surface over the MacBook Pro for image editing and processing power, but then produces a higher-priced Surface Book that cannot keep up with a MacBook Pro. I can't remember the exact details but it was something like this: The Macbook Pro came out twice as fast and Surface Book had no way to edit 4K footage.
I do a lot of motion graphics work and use my Surface Pro to create and animate assets on the go. This laptop contains a brand new logic board, which was replaced by Apple due to a recent recall. This all sounds good, but does it translate to Apple's newest MacBook Pro 15 inch - which is the first laptop of its size to incorporate an LED backlight - being better than previous Apple laptops for the viewing and editing of pictures?
But in April of that year, Apple switched the Powerbook G4 "TiBook" to a 15.2-inch, 1280 x 854 pixel screen that - for the first time in our experience - responded well to hardware monitor calibration. During this period, we struggled to find a laptop from any Windows PC laptop maker that measured up (of the dozens of photographers' laptops we tested at various workshops, all exhibited lousy colour before and after calibration). The new 15 inch and 17 inch laptops, the company's first to feature processors from Intel, also incorporated new displays: a 1440 x 900 pixel screen in the 15 inch, and a 1680 x 1050 pixel screen in the 17 inch. Knowing these things, however, and knowing that each shortcoming wasn't too severe, made it possible to trust the screen. Both site co-editor Mike Sturk and myself own 17-inch MacBook Pros, and they're wonderful computers in most respects.
Plus, the promised longer service life of LED vs CCFL should translate into the MacBook Pro 15 inch's screen retaining its finer attributes farther into the future.
In fact, the colour gamut of the MacBook Pro 15 inch with LED backlighting is still quite a bit smaller than that of a reasonable-quality desktop flat panel with a CCFL backlight.
If you hold your cursor over the right plot, it will show the gamut of an early-2006 iMac 20 inch. But its minor colour quirks, tight head position requirements and relatively small colour gamut when compared to a desktop display means there's still lots of room for improvement in future laptop offerings. Note that you can also adjust screen brightness using the computer's dedicated function keys for this, but the Brightness slider in Displays steps the backlight up or down in finer increments. Command-Shift-3 will grab a picture of the entire screen, while the more-useful Command-Shift-4 will enable you to select what you want captured. The switch to LED also makes the MacBook Pro 15 inch a bit lighter, and the promised runtime on battery longer too.
It's unlikely that Apple made changes to its standard 1680 x 1050 display, but we've not actually tested one, so it's only a guess that it should profile as well as the second-generation 17 inch.
The best laptop displays are clearly still a couple of notches below desktop displays of reasonable quality, so evaluating them means not worrying too much about subtle colour errors and instead looking out for display weaknesses that could cause mistakes like selecting a less-than-optimum white balance during RAW conversion, making a tonal adjustment in Photoshop that renders the picture lighter or darker than it ought to be or correcting for an apparent hue problem that doesn't actual exist in the picture, only in how the screen displays the picture. It's the Macbook Pro of Windows laptops, but it's also quite a bit more than that, thanks in no small part to the detachable tablet display. These machines are also given Intel Skylake Core i5 and i7 processors, depending on which configuration you choose, as well as dedicated NVIDIA GPUs in the higher end configurations. Of course, you'd have to adjust to the somewhat unorthodox 3:2 aspect ratio, but my guess is that the extra vertical screen real estate would be beneficial for certain applications.
It didn't even play it smoothly (with nothing added to it, just footage as it was) while Macbook played it even with effects added. It was a guessing game trying to judge image exposure and white balance, while adjusting tone and colour in Photoshop needed to be done by the numbers, for those brave enough to attempt it at all. So well, in fact, that we finally felt comfortable that what the screen was showing us was close to what our pictures actually looked like. The usable viewing angle of the screen was also too narrow; shifting an inch left or an inch right changed the hue of certain colours noticeably, while tilting the screen up or down slightly showed not the typical top-to-bottom uneveness in brightness, which can be worked around, but instead a contrast and density shift on the top and bottom of the optimum viewing area, a shift that made it look like some of the screen had a plastic film overlaid.
But this model's screen, like its 15-inch counterpart, has been at best only marginally okay for the purpose of working on pictures in the field.
On June 5, 2007, we got half of what we've been waiting for, when Apple introduced a new 15-inch MacBook Pro with LED backlighting (the 17 inch soldiers on with a CCFL backlight). But for now, the MacBook Pro 15 inch with LED backlight is definitely a step up from any laptop display we've looked at before.
But our accidental discovery of a way to better-profile the older MacBook Pros we already own means they should serve us well for awhile yet. The 1920 x 1200 pixel display option for this model is all new and we can't predict how it will respond to calibration and profiling. Add to that either 8GB or 16GB of RAM, and it's clear that Microsoft has put some serious computing power into these new machines. Also the mac has force touch which is fantastic for editing, although I haven't used touchscreen for editing yet. I also, own a Macbook and have used it extensively on my travels, but the Surface Pro is a different product with a different feature set that the Macbook doesn't have.
Armed with the right monitor hood, it was possible to even adjust pictures in Photoshop with confidence. And neither model's screen has been up to the overall level of what has come before from Apple. For the on-the-go photographer in the early part of the new millenium, this screen was a big leap forward.

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