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adobePremierPro cs5 playback lag
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I do see a some big plusses for transcoding in a pipeline:
1) Performance optimization – to this end, why not co-develop with NVidia?
2) File management – I much prefer individual files to the structured folder format of P2.
3) The opportunity to allow Media consolidation during “Project Mgmt” options. Seems many formats are now locked out of that and it makes archiving and moving big projects harder.alex
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wow i didnt think ppl would reply.. thanks just for that alone. im not too tech savvy but i tested out this morning deleting all of the big clps on the timeline. so i had 2 non-rendered clips about 14 sec each..played slow and lagd. i tried lowering res to 1/2 and already it stopped lagging!!! not much but its still progress..im going to keep trying to see how much i can have o my table before lag…oh and lets say that things go well…how do i export my scene back to its original quality? is it just a simple 1 2 click?
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Alex – “I do see a some big plusses for transcoding in a pipeline”
Alex can you define what you mean by this statement? I would guess you dont mean going back to the way things work in FCP where all clips need to be transcoded to Prores . The element of time that is saved by the way things are currently done is monumental. Even thought its slower in the Export process since the entire timeline needs to be interpreted and rendered, unlike FCPs approach of using render files “stitched together” to create the exported file.
Tom Daigon
Avid DS / PrP / After Effects Editor
http://www.hdshotsandcuts.com
Mac Pro 3,1
8 core
10.6.8
Nvidia Quadro 4000
24 gigs ram
Maxx Digita / Areca 8tb. raid
Kona 3 -
I think there still needs to be an industry standard mastering codec. From a technical point of view ProRes is the best. As has been pointed out above, the biggest drawback is the lack of a Windows encode component. If Avid could fix the big overhead issues of DNxHD, it would become a much better option. The other issue we will all have is the terrible transition from QuickTime to AV Foundation. I think Adobe needs to a new cross-platform container format
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Hi Tom….
What PPro offers that FCP didn’t is the flexibility of saying you don’t have to transcode to edit. I do love this.
But….
With workgroups, like broadcasters for example….
having to maintain folder structures, say from P2 acquired media, for example, can be problematic in a SAN or NAS. Much simpler to have an individual, non atomized, asset for cataloging and migration around the file system.
You also might want the ability to move to a codec type that is friendlier with the variety of workstations that may need to access the asset. Not all of them will have robust CPU’s nor will they have a CUDA GPU. So transcoding to a common denominator can be helpful in those circumstances as well.
Currently in PPro (at least as far as I know), lots of GOP based media doesn’t seem to allow trimming (media consolidation) during the “project manager” phase of prepping a project for archive or transport. This means that source media must be entirely duplicated making the deliverable larger. With the cost of storage space continuing to drop, it’s not as big a deal. But again, in broadcast scenarios, where feeds can be hours long, and likely based around a GOP structure, this might pose workflow issues that could be resolved by a transcode to non GOP somewhere in the pipeline.
That’s what comes to mind initially anyway…but maybe I’m over thinking it. Certainly wouldn’t be the first time. 🙂
Alex
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Jeff, I think the folks at Cineform are trying to become that solution. Its now free to everybody (422 version) if you download the GoPro Studio software. Its 64 bit and works on all platforms an is poised to play a bigger role in professional video
Tom Daigon
Avid DS / PrP / After Effects Editor
http://www.hdshotsandcuts.com
Mac Pro 3,1
8 core
10.6.8
Nvidia Quadro 4000
24 gigs ram
Maxx Digita / Areca 8tb. raid
Kona 3 -
Thanks Alex. I tend to see things from the perspective of my experience which was a large post house for 18 years and a boutique for 10. I can see in a situation (like news) where a lot of sharing is going on this could be a big issue. Its a shame to lose the immediacy of use which is Premieres strongest selling points at this time.
Tom Daigon
Avid DS / PrP / After Effects Editor
http://www.hdshotsandcuts.com
Mac Pro 3,1
8 core
10.6.8
Nvidia Quadro 4000
24 gigs ram
Maxx Digita / Areca 8tb. raid
Kona 3 -
Yeah but I don’t see that as an ultimate problem.
I think workflows can be designed so that the crew returning from the field could edit native with the initial asset while at the same time some batch encoder is picking it up and transcoding it for the library.
So it actually is a benefit from that POV.
Alex
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A lot of people were gushing over the Cineform codec a while ago so I tried the trial out. The encode crashed 90% of the time and when I actually got a file out it was just video artifact garbage. So… Yeah. Not paying for that.
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I had the same experience and got in touch with the developers. They are scrambling to fix whatever broke with the CS 5.5 upgrade. They say it worked just fine before that happened. I spent a chunk of time with them on the phone troubleshooting the crash issue. I think once its resolved it will be a viable alternative. These things happen, what counts is how motivated they are to fix it quickly.
Tom Daigon
Avid DS / PrP / After Effects Editor
http://www.hdshotsandcuts.com
Mac Pro 3,1
8 core
10.6.8
Nvidia Quadro 4000
24 gigs ram
Maxx Digita / Areca 8tb. raid
Kona 3
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