“Smart Rendering” in Premiere

[Walter Soyka]

[John-Michael Seng-Wheeler] “I posted this in the Premiere Forum, but they were totally uninterested and even seemed to be attacking me for suggesting it was big deal.”

They were wrong. This would be very cool.

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

[John-michael Seng-wheeler]

I tested it. Rendered a XDCAM HD file, and then turned around and rendered it again.

Dropped them into AE and set it to diference. The first 2 frames and the last 30 were different, all the rest were identical.

Tried it again queueing the render from Premiere, but it didn’t work, so the function has no real use yet.

This was all on windows. When I tried on Mac, (Because of creative cloud, I have finally been able to install Premiere on my MBP that I use for everything except editing.) I found that MXF wasn’t even a option????

Is not being able to render to a MXF OP1a normal for Premiere on a Mac?

[Jules Bowman]

It said in the notes it isn’t usable in PP yet so to keep it off for now, but to stay tuned.

Exciting though for when PP is ready.

[Gary Huff]

[John-Michael Seng-Wheeler] “I posted this in the Premiere Forum, but they were totally uninterested and even seemed to be attacking me for suggesting it was big deal.”

I saw that thread. You seem to think people should fawn over you for bringing this up. You should just move on.

[Jeremy Garchow]

Remember guys, it’s only op1a mxf, and it’s only straight passthroughs with no effects.

Still, it’s a good thing.

[Sohrab Sandhu]

[Gary Huff] “I saw that thread. You seem to think people should fawn over you for bringing this up. You should just move on.”

Wats up with this ‘nasty tone’? Most of your input on this forum is a retort of some sort.

If you get offended so easily then perhaps you need to “MOVE ON”

Sohrab

FCS 3, AJA Kona Lhi & Adobe PPro

“The creative person wants to be a know-it-all. He wants to know about all kinds of things: ancient history, nineteenth-century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because he never knows when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But he has faith that it will happen.” — Carl Ally

[Chris Harlan]

[Gary Huff] “[John-Michael Seng-Wheeler] “I posted this in the Premiere Forum, but they were totally uninterested and even seemed to be attacking me for suggesting it was big deal.”

I saw that thread. You seem to think people should fawn over you for bringing this up. You should just move on.
“

Wrong side of the bed today, Gary? Or is there some hidden offense in this fellow’s post that I cannot see?

[Jules Bowman]

Jeremy what did that mean in your post? Does this feature, when finally ready, address at all the fact PP re renders everything each time you export?

[Bernhard G.]

Hello,

You simply have had addressed Premiere’s biggest weakness,
and PremierePro users are simply used to another workflow philosophy.

This weakness is the lack of a high-end intermediate codec.

But Adobe is aware of this problem, as has been mentioned here
by Dennis Radeke at the forums (sorry for not finding the thread at the moment).

Recently I read GrassValley’s White Paper
AVC-Intra for HD-Editing and Production
Very reasonable arguments for a an AVC-I workflow in there!
EBU also does like it.

It seems AVC-I is more robust than ProRes and DNxHD.
It’s current disadvantage is the implemented datarate of 100Mb/s,
that takes quality somewhere in between ProResLT and ProRes422.
AVC-I Class200 and Class400 should be of higher quality than ProResHQ
and ProRes4444.

Since Adobe will need to support AVC-Ultra either way,
perhaps this problem will be solved very naturally and elegantly
when released next year!

But then there arises another problem:
Please does anyone know for sure how “open” AVC-I really is?
The current modes are standardized by the SMPTE:
https://www.techstreet.com/cgi-bin/detail?doc_no=smpte%7Crp_2027_2007;product_id=1624088

But how are the chances we will see non-Panasonic Field Recorders and Cameras capturing AVC-I 200/400
as we see them today with ProRes and DNxHD?

I never ever again want to use proprietary/non-open camera codecs and proprietary recording media!
NEVER EVER!

Best regards,
Bernhard

[Jeremy Garchow]

[Jules bowman] “Jeremy what did that mean in your post? Does this feature, when finally ready, address at all the fact PP re renders everything each time you export?”

For very particular formats, and only if there’s no effects. So basically, bring in op1a MXF media, edit it, don’t do anything else to it that requires more processing, and export.

Jeremy