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Premiere Pro 6 to 5.5 frame grab comparison
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Correction of my former post:
DIRAC actually does support 4:4:4 and currently up to 16bit,
and resolutions up to 8K (theoretical no restrictions at all):
https://diracvideo.org/BTW: the enduser-version of DIRAC is called “Schroedinger”
Coding HW is very affordable:
https://www.numediatechnology.com/
Would be rediculous if no one could build a field recorder around it …Best regards,
Bernhard -
[Tapio Haaja] “I really hope Adobe some day releases their own high quality cross platform DI codec. In the meantime I hope they’ve licensed Prores from Apple for CS6 so they can build native support for it and bypass old Quicktime. I think licensing for Mac Premiere shouldn’t be an issue because Avid already introduced native Prores support in MC6 for Mac.
Another thing is I/O performance and stability. At the moment performance and stability with AJA, Blackmagic and Matrox is very poor.”
Tapio, AFAIK Apple has licensed prores encoding only to acquisition hardware companies (cameras, recorders etc). Both Premiere and Avid can read & edit prores files (Win and Mac) but only Mac versions of both can encode if they have FCP or Motion installed on their system.
In my experience stability in PrPro with third party hardware is solid. Problems with stability and performance are usually system configuration issues. Some complain, for instance, that they can only play a single stream of prores HQ. Others with the same hardware get 3 or 4. Personally I tend to avoid all QT variants like the plague because they’re 32bit and because Quicktime on Windows really is as painfully buggy as black flies in July.
David
AllinOneFilms.com -
[David Cherniack] “AFAIK Apple has licensed prores encoding only to acquisition hardware companies (cameras, recorders etc).”
Apple has licensed Windows ProRes encode to Telestream for Episode and Vantage and Building 4 Media. I think Elemental has ProRes decode for Linux.
John Heagy
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[John Heagy] “Apple has licensed Windows ProRes encode to Telestream for Episode and Vantage and Building 4 Media”
It would be interesting to know what Appple’s response was when (if) Avid and Adobe came knocking for their Windows versions.
David
AllinOneFilms.com -
“I think licensing AVC-Intra would be a decent solution. It’s 10bit, I-frame and currently has 50 and 100 mb variations, with supposedly more coming (AVC-Ultra).”
PPro already supports AVC-Intra, both import and export. So this should be feasible. You can do it now by bringing everything into Media Encoder and doing a batch encode, and Adobe’s upcoming Prelude app will give you the option of encoding to another format on import.
The only downside, is it currently only supports HD video sizes.
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“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.” -
Hello,
the problem with AVC-Intra is the same as it was with DVCPro50:
They are superb codecs for (camera-)recording from uncompressed,
but are not robust enough for high-end post production.
(robust = significantly keeping quality at re-encoding)They are perhaps the best native camera codecs for DNG, but nothing for DI.
That said, one of the most popular DI codecs before Apple released ProRes,
was DVCPro50 …But the more I think about the problem, the more I like DIRAC PRO aka Schroedinger …
https://diracvideo.org/
It’s open source!Best regards,
Bernhard -
[Greg Andonian] “PPro already supports AVC-Intra, both import and export. So this should be feasible. You can do it now by bringing everything into Media Encoder and doing a batch encode, and Adobe’s upcoming Prelude app will give you the option of encoding to another format on import.
The only downside, is it currently only supports HD video sizes.”
I know it supports it, but we are talking about having a DI codec for premiere.
You can’t set your sequence to preview to it, for example.
You can’t write to a qt wrapper, for another example, at least not without third party.
While yes, you can export an avc-I, p2 compliant MXF, I am talking about full proxy (DI) support of the codec as many NLEs support it now.
It would also allow writing of op1a MXF instead of p2s op-atom.
Just an idea so as not to add another codec to the game. Avc-I is understood by most NLEs right now, today, and I secretly want MXF to be pushed out in a more robust and less proprietary manner. It’s a good solution to a .mov-less world and was designed to hold media.
And yes, it’s hd only, I think there’s probably enough sd codecs at this point.
Jeremy
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[Bernhard Grininger] “but are not robust enough for high-end post production.
(robust = significantly keeping quality at re-encoding)”I hear that, but
Have you done tests? DV50 and avc-I are worlds apart.
Seems to be good enough for Avid in that they offer it as an alternative to DNxHD in nitris.
https://www.avid.com/US/products/media-composer/hardware-options
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Put my voice in this one Dennis. It’s all about Avid’s trim mode. It’s the reason I keep running back to Avid every time your software laps it in most other facets. No matter how speedy, I want my powerful trim tools at the keyboard level and with per-track controls. Premiere’s trim/roll tools have always been too mousey for 10-hour Monday to Friday level of work.
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We have long understood the need to improve our trim tools. Lets see what the new release brings. 😉
Dennis – Adobe
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