[Anna Chiaretta]

So I am going to jump on this thread to suss out the codec problem I am having (same issue except that I don’t want a shitty H.264)…

At my place of work we are on a MacPro that has been upgraded to Lion and runs Premiere and AVID, we are looking to edit a project in Premiere where the raw footage supplied by a collaborator is in XDCAM, sadly we can’t work with any Apple proprietary codecs because Apple doesn’t make codecs free to install like AVID (jerks).

Rather than asking the collaborator to re-transcode and mail hard drives back and forth again I was going to transcode on my home freelance system that runs both Premiere and FCP7 (so it handles xdcam and ProRes just fine). My current plan is to use DNXHD at the same bitrate as the original files but curious what others would do.

So the question is:
What codec would you recommend on a transcode output from XDCAM for working in premiere?

VIDEO ARTIST AND TECHNICIAN

[Anna Chiaretta]

Does anyone have the problem where the yellow keyframe line won’t display for clip keyframing and only for the track level? It seems like a bug, and may require a fresh re-installation, but wondering if it is a known problem with a fix. it is driving me bats.

thanks all

VIDEO ARTIST AND TECHNICIAN

[Anna Chiaretta]

This is such a great thread for another final cut user in the process of figuring out how to adjust to AVID.

So you find using automatic duck is an effective way to get a single project backed up for storage? (like on LTO tape or something like that)

I want to be able to store archived projects individually or in small groups on a topic if a series of shorts.

VIDEO ARTIST AND TECHNICIAN

[Anna Chiaretta]

I am a big fan of “Color Correction Handbook: Professional Techniques for Video and Cinema” by Alexis Van Hurkman

VIDEO ARTIST AND TECHNICIAN

[Anna Chiaretta]

I use my color checker with video. it is very useful for matching footage between locations before adding my grading effects.

VIDEO ARTIST AND TECHNICIAN

[Anna Chiaretta]

I am finding the same problem on our 8 core Mac Pro with 24 Gb of RAM, Premiere Pro totally drags, playback is horrible with native AVCHD. We are trying to quickly process lectures adding in PPT slides titles and what not, and it is such a pain in the neck.

With AVID it also doesn’t seem to like AVCHD, so I am experimenting with an AVID Workflow where we do a transcode from the get go since we aren’t going to be cutting more than a few minutes of the video off of the final product.

Once again any updates are welcomed.

VIDEO ARTIST AND TECHNICIAN

[Anna Chiaretta]

So going back to the initial questions of what the export is for, what format would you use for creating an archived large (uncompressed?) file for future use.

Something from which to make DVD, YouTube, or podcast compressions or just playback for screening in the future.

I am working on FCP, AVID and Premiere all simultaneously right now, just because of the one license each on different machines and the slow ween off of FCP, I am designing the workflow of our future. So I am trying to come up with something that for when we choose switch totally to one of these interfaces all previous projects will be relatively accessible if someone puts in a request years down the line. Would love to hear people weigh in with their workflow thoughts.

Previously in FCP land my workflow was HQ ProRes422 for Archiving, H.264 best quality 15 mps QT for playback, and then a lower bitrate H264 QT for YouTube…

thanks!

[Anna Chiaretta]

I second this request for recommendations from the cow community as well… what are people working on with Raid 6 that they like? There are reviews out there but would love some current commentary from y’all on what you like.

[Anna Chiaretta]

Re-opening the conversation 3 years later…

I was hoping some folks would be up for getting into specifics of transmitter and receiver options out there, what kinds of specs am I look for in these days in the land of hyper interference? I am definitely more a video brain than an audio brain but diligently learning.

Of course directing me to any sources out there on the internet would be wonderful. That lav mic analysis website is great for looking at what kinds of mics to have in pocket for a backup when something gets drenched or crushed on the job.

thanks all.

[Anna Chiaretta]

Any updates to this topic?

I am designing a new edit station based out of the same quad core mac pro and have at my finger tips both the full versions of Avid and Premiere Pro (lucky win at an auction). I will be producing content for web and would love to hear updates to experiences with the transition (either way) and recommendations for small production web work.

I think for my personal work as a video artist I will move to Premiere for the time being. But for the professional web work I feel the broadcast quality and seamless workflow as production expands is more suited for Avid especially when accounting for the expansion of production scale. Also thinking of working on multiple projects simultaneously (does avid support that?)

I would love some rambles on the topic, I am still with my FCP7 like holding a slowly dying family dog, I have been with FCP since the beginning.

cheers all.