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CS6 is released – so what now?
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I just think the term “rough cut” used in Prelude (Adobe’s term, not mine) is a bit misleading.
Assembly is more accurate.
It does send to Pr as a sequence, though.
Just like Walter Soyka talked about skimming vs hover scrub, this is rough cut vs extended marker assembly.
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[Jeremy Garchow] “Assembly is more accurate.”
But do you really want a producer to do more than this? This of it as an electronic paper edit.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “But do you really want a producer to do more than this? This of it as an electronic paper edit.”
I tried to suggest to get the term “rough cut” removed and replaced with “assembly”.
It didn’t work.
I have seen people talk about Prelude in forums, and think it will be the iMovie to FCPX. A rough cut tool.
It isn’t.
I am very intrigued by Prelude, and I think Adobe is trying to figure out where it’s going to go, I have a suspicion that they have big plans for it. I do think that Rough Cut is misleading, unless someday they will give more “cutting” ability.
I hope that some day it become a kickass conform tool, but that probably won’t happen.
What intrigues me most about the whole CS Suite is that there seems to be a vast transportation system throughout the whole thing. The problem right now is that a few of the highways and biways seem incomplete, and sometimes it seems you need to get on the bus that takes you all the way around town instead of getting on the subway that takes you straight across town.
High hopes though. Pr is hitting it’s stride. It’s fun to watch.
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1/16 resolution only shows up for RED type codecs (4k). You won’t see any 1080 type frame sizes give you any options below 1/4.
Personally, I have no problem with 1/2 on any HD codec and if you’re doing RED at 1/2, well then you’re cookin’ with gas, because you’re playing back 2k from 4k original media. Of course, you need a 2k viewing device at that point…
In principle, I like to be at full res whenever I can, but if the timeline or the hardware (laptop for example) dictates, I will bump it down as needed.
I think the main idea is that the USER has control of what might be equivalent to FCP7’s dynamic RT. Adobe is all about giving the user control.
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[Dennis Radeke] “Personally, I have no problem with 1/2 on any HD codec and if you’re doing RED at 1/2, well then you’re cookin’ with gas, because you’re playing back 2k from 4k original media. Of course, you need a 2k viewing device at that point…”
I edit in a paltry 1080 timeline. 🙂
Sorry guys, I am not trying to take anything away. It’s amazing what can be done with Pr.
I find it awesome that Pr can playback Red footage. RCX has allowed this for a long time, too, also at reduced resolutions.
I typically edit with external monitors, and even using “medium” and “low” in FCP7 drives me nutty, even though the real time is stupendous.
But it’s just me, I’m a nerd.
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I share this too – but, you know, sometimes (a little too much even) you self deprecate with ‘I’m dumb’ stuff, Jeremy, I however really am genuinely stupid on the vast majority of this stuff.
the thing I feel is that with what I would have termed vanilla HD, which in my terms is prores, as in a properly optimised workflow codec, the application should not be asking to go to half res, particularly when it performs the action globally ala AE.
I take Dennis’s point on offering the user control, but surely the point was that 7 did it dynamically on a per clip basis?
this is all moot because I have no idea what I’m talking about when it comes to CS6, as ever, and peeps seem to be saying that mercury or no mercury, the open timeline can perform with multiple codecs on recent hardware at up to 1080p resolution.
that’s my primary concern though: I feel that, with adobe having not gone the route of a timeline playback DI codec, opting instead for a timeline built to handle natively, that for people looking at this application, they would have a reasonable expectation, (nvidia or no nvidia, and for many of us its no nvidia) that Premiere Pro 6 should be able to handle up to 1080p footage with dissolves and basic colour correction at 1080p output resolution, without having to cut the entire sequence resolution in half.
However, unlike my carping on FCPX, where I can at least stand over reasonable work through and awareness, I know the damn near of the utter nothing on this baby yet. And won’t until an employer sticks it on, or the voucher email for the free 5.5 to 6 pops in my inbox… presuming at that point I’ve bought the imac creation to ride it on.
An iMac that will very likely have a (*currently*) unsupported GPU.
I just need to know that mercury is for fun and effect thrills, and that the actual software coding of the timeline, and its ability to throw all these native avchd formats sans a DI codec can be entrusted to a 12 month old CPU at up to 1080P. that is my genuine curiosity.
I do nearly all of my serious malarky in AE, I just need to know that premiere can stand as a multi-format timeline without Nvidia or the two mac laptops currently sanctioned.
https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Aindreas Gallagher] “I share this too – but, you know, sometimes (a little too much even) you self deprecate with ‘I’m dumb’ stuff, Jeremy,”
Hey! I said I’m a nerd, are you calling me dumb? ;-D
Really, I can’t possibly know everyone’s requirements and experiences, I can only share mine. So in reality, I am not dumb, but I am certainly not omniscient. Some people can edit looking at artifacts. It drives me batty. It’s the way I am, but not the way the world might feel.
Here’s the odd things:
Some codecs require massive CPU to play and GPU has not much to do with it. R3d is one of those codecs. So is AVCHD. LongGOP AVCHD is a computationally “expensive” codec (even though the codec comes in very affordable cameras). I have an older laptop, and just playing back one stream of native AVCHD causes a huge CPU spike (hovers around 120% on my macbook pro that’s 3 years old).
According to this linked Adobe document, here’s what CUDA processes:
some effects
scaling
deinterlacing
blending modes
color space conversionscs6 added a few more effects.
So PLAYBACK, general playback that is, is not CUDA/openCL based. Playback is based on CPU.
Considering you are thinking of getting a quad core, very new CPU and a “supported” GPU, I think that you will probably be just fine. If you had no AVCHD material, you’d be even better. I find that i-frame MXF codecs (like P2 based DVCPro HD, and Avc-Intra) work really really well.
What is GPU accelerated are effects. So the faster your GPU, the more you can do in real time when playing back a CPU expensive codec, along with real time effects.
That same AVCHD clip I told you about: if I add a 3way CC, the CPU jumps to 165-180% and frames drop while playing back and that’s just adding the filter, there’s no adjustments made to to the color at all.
Drop to half resolution, and playback works.
Adjusting this in real time simply does work at any resolution.
If I had a supported GPU, this would probably work, but my CPU is a bit long in the tooth by Adobe standards, and is also running the “wrong” OS.
I will say, however, I had this very same laptop on set the last few days, checking green screen shots from an Arri Alexa @ 444 ProRes in AE CS6.
The speed improvement over CS5.5 was astounding. I even tried 32bit for yucks. AE CS6 is sweet. You will love it.
Clear as mud, right?
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[Jeremy Garchow] “Clear as mud, right?”
nope. that’s a completely excellent, and highly informative public post.
CS6, says the prole, feels like an utterly massive release, I mean even the way they just threw speedgrade in there?
I mean good god right? that is right in its infancy in the suite. I am genuinely near mad to get the suite working in my gaff.
It feels like the software equivalent of a childhood boxed millenium falcon.As you say: adobe are looking to drive through with disparate, native, highly compressed capture codecs that demand CPU at every stage.
Part of me, in my heart of hearts, cannot get rid of the catholic guilt that says that looking to perform with non-optimised camera codecs in the timeline is somehow wrong. That said, all the codecs are advancing at lightspeed? and coming from the cobwebbed world of 7, the idea of simply plopping red on the timeline kind of beggars my mind.FCPX has highly intelligent adaptive workflows to manage this dichotomy, and you could argue, these are workflows more in tune with the inclinations of post inclined editors who like to feel brick pavement under their feet in codec terms.
On the other hand, FCPX has the most ridiculous timeline and audio handling I’m ever likely to see, so there’s that.
https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Jeremy Garchow] “Adjusting this in real time simply does work at any resolution.”
Does NOT work.
Sorry.
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[Aindreas Gallagher] “I do nearly all of my serious malarky in AE, I just need to know that premiere can stand as a multi-format timeline without Nvidia or the two mac laptops currently sanctioned.”
Aindreas, out of curiosity, what’s keeping you on the Mac?
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events
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