Premiere Pro – I could be convinced!

[Herb Sevush]

[Dennis Radeke] ” You wouldn’t expect your cell phone to still work free of charge after you cancelled the contract would you?”

No, but I am able to access the sim card and get my info into another phone.

I understand the value proposition of the Cloud and I think it’s great that you offer it, I was just pointing out the main negative for me. If I went the Cloud route I would want to make sure I exported an XML of any finished project as a way to future proof my workflow. It’s not a bad idea under any conditions actually.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Boris Yamnitsky]

Glad you mentioned Boris FX transitions for Adobe Premiere. Both Boris FX 10 (least expensive option) and Boris RED 5.2 work as true single track transitions in Adobe Premiere.
To get an idea of available presets, please see this browser:

https://www.borisfx.com/red/Movie-Gallery.php

Since Premiere does not allow native parameters for transitions, our custom UI becomes necessary. To ease the learning curve, you can use the Browser mode where you can choose a preset and go right back to Premiere to render.

This Boris TV episode provides more detail:

https://www.borisfx.com/videos/FX/Custom-Transitions.php

Needless to say, this is not our last word on Premiere Transitions, stay tuned for future releases. Hope this helps.

Boris Yamnitsky
BorisFX

[Chris Harlan]

[Boris Yamnitsky] “Glad you mentioned Boris FX transitions for Adobe Premiere. Both Boris FX 10 (least expensive option) and Boris RED 5.2 work as true single track transitions in Adobe Premiere. “

Boris! I’m a fan. I am truly grateful for that Red transition plugin. And, I DO use the browser view quite a bit. Its also terrific that I can go back and forth so easily between MC and Pr. And, btw, thanks for those free Eye Scream presets you folks sent out today. I’ll be playing with them a bit later this afternoon.

Because of its customizability, I would still use the Red Plugin much of the time, even if Continuum transitions were available on a single track. But, having the single track option would be very nice. Of course this is a niggling issue in MC, as well. I just got spoiled by Continuum’s ease of use in FCP.

[Alex Hawkins]

[Dennis Radeke] “Agreed but as stated earlier, we are working on it.

https://www.filmimpact.net/
https://www.idustrialrevolution.com/

Here are two that are doing it as transitions today and a lot of others are working on it. I think we’ll get there.
“

Many Thanks Dennis. I just purchased the FilmImpact set.

Cheers.

Alex Hawkins
Canberra, Australia

[David Lawrence]

[Dennis Radeke] “For the first three, I’d file feature requests with specifics. You can also email me privately to discuss.

For #4, this is a known bug. There is a workaround. Basically, if the audio has no keyframes in FCP, it brings the audio in at -infinity level. Add a single keyframe to your audio tracks and it should come in correctly. Yeah, it’s a hassle and I’m sorry.”

Hi Dennis,

Thanks for answering so many questions today! I’ll make the feature requests and will also email you about a couple details later in the week.

Re: XML – will give the workaround a try. Since the problem is already well know, hoping CS7 will bring a fix 🙂

Thanks again!

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[Bernhard G.]

Hello,

Motion Compensation aka Optical Flow aka Pixel Motion
for De-Interlacing would make most sense if there also was an additional Effects Category in the Effect Controls Window, e.g. labeled Standards Conform and containing everything about the Clip’s conforming behavior in the sequence (Fit to Sequence, De-Interlacing, Frame-Blending, Color Space, etc.).

Motion-Adaptive De-Interlacing analyzes, which parts of the image have moving objects at all and discard+interpolate to fill up only those parts of a line that contains motion.
Motion Compensated De-Interlacing tracks detail information to intelligently fill up the discarded parts of the lines.

The analysis for Motion Compensation could also be used for speed changes
and for Super Resolution (upscaling by collecting detail information of neighboring frames).
I’d guess, Adobe could use the analysis currently done for Warp Stabilizer to perform an excellent De-Interlacing, and Super Resolution processing 😉

In detail I would expect a more automate and logical behavior of fields handling, e.g.:

if I place a 1080i/25 clip in a 1080p/25 sequence, PP should automatically assign
Motion-Compensated De-Interlacing to the clip.

If I place a 1080i/25 clip in a 1080p/50 sequence, PP should automatically distribute
the 50 fields to the 50 frames and interpolate the missing lines via Motion-Compensation.

If I place a 1080p/25 clip in a 1080p/50 sequence, PP should automatically interpolate the missing frames not by frame-blending, but by motion analysis.

Thank You for listening!

Best regards,
Bernhard

[Dennis Radeke]

Maximum Render Quality is used when exporting from one frame size to another:

Maximum Render Quality Maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply.
At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with sufficient RAM. The Maximum Render Quality option is not recommended for systems with the minimum required RAM.

Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening.

Maximum Bit Depth is also not always to be used:

Maximum Bit Depth Maximizes the color bit depth, up to 32 bpc, to include in video played back in sequences. This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit (256-color) palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files.

Link (long): Adobe Help on Sequence Settings

[Bernhard G.]

[Dennis Radeke] “Maximum Render Quality is used when exporting from one frame size to another:

Maximum Render Quality Maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply.
At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with sufficient RAM. The Maximum Render Quality option is not recommended for systems with the minimum required RAM.

Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening.”

Solution:
discarding the term ‘maximum render quality’ and implementing user-selectable scaling algorithms, assignable individually on clips in a sequence
(selection would fit perfectly in a new category Standards Conform I proposed above)

[Dennis Radeke] “Maximum Bit Depth is also not always to be used:

Maximum Bit Depth Maximizes the color bit depth, up to 32 bpc, to include in video played back in sequences. This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit (256-color) palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files.”

Confusion:
Mercury on GPU processes 32bit float all the time.
So if I need 8bit for web-purposes, should I disable GPU processing at all?
This explanation doesn’t make sense to me.

Solution:
Making 32bit float the default and adding a tiny checkbox labeled Preview Quality which means ‘8bit only’ somewhere in the GUI near sequence viewer.

Best regards,
Bernhard

[Gary Huff]

[Bernhard Grininger] “Making 32bit float the default and adding a tiny checkbox labeled Preview Quality which means ‘8bit only’ somewhere in the GUI near sequence viewer”

Very confusing.

[Mike Cohen]

Wow what a fun thread. So nice to see someone from Adobe responding to nearly every point.

Here’s my primary annoyance – you want to reuse a clip on the sequence elsewhere in a sequence or project. Double click the clip on the sequence to open in course monitor. But then if you change an in or out point, it changes the clip on the sequence. You can right click the clip and select “reveal in project” but not necessarily get to the same in point in the original clip.

Here’s another – if you have keyframes set on a clip, then you shorten that clip, Premiere maintains the keyframes beyond the end of the clip. There is no way to delete the phantom keyframes easily.

And another – sometimes you want to make a new sequence, maybe a scratch pad to try something outside of the main sequence. If you follow Adobe protocol, such as in Photoshop, you select an item, copy, make a new sequence, then try to hit paste, it does not paste anything. When you make a new sequence it clears whatever is in the copy/paste buffer.

All this being said, CS6 is the best Premiere yet. Even on my Core2 Quad with 8 gigs of ram and no CUDA it is rock solid and exporting to h264 is faster than CS5.5. I’ve had maybe 2 crashes in as many months, vs CS5.5 crashing daily. That is much more important than new features.

Mike Cohen