Chris Conlee
Forum Replies Created
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I’m running them both in 10.7.4 with perfect results. However, as has been mentioned, I’m not happy with my Black Magic Intensity in PP, but I’m not happy with my Matrox Mini Max in Avid. I’m primarily an Avid guy, so I keep the BM Intensity installed. But if I had to do a big PP CS6 job, I’d definitely swap it out for the Matrox Mini Max.
Chris
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Since you’re familiar with FCP7, moving to PP CS6 would be super easy. Also, you can get the cloud membership for only $50/month, which might help the organization’s cash flow. With that, you could get a Matrox Mini (which works AWESOMELY with PP, btw) and you’re rocking.
Once you start using Adobe Media Encoder, you’ll wonder why you’re still trying to use compressor. It’s THAT much faster.
Like most others on this thread, I’d suggest you have no need for panic. If what you have now is getting the job done, then you’re not in an emergency just yet.
Good luck,
Chris -
Not the way I’d like it to. I’m being led to believe that since the Intensity line doesn’t have any hardware scaling capabilities(?) it won’t play back anything other than video resolutions in Premiere Pro. For Premiere, I’d recommend the Matrox Mini. It worked awesome.
For Media Composer, I’d recommend the Intensity, at least until Matrox and/or Avid get their driver situation figured out.
Chris Conlee
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Roger that. Thanks for the clarification. I actually figured that out over the weekend, but I’m glad you pointed it out to others who might have been inclined to make the same mistake I almost made.
Chris
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Here’s the thing, I’m in EXACTLY the same predicament. Prior to MC 6.x, I was using the Matrox MXO2 Mini, which was totally awesome. In MC 5.x it worked like butter and was totally reliable. However, in MC 6.x, the system changed somehow and the drivers are no longer as good. The Matrox MXO2 mini is now almost unusable when doing trims with the audio scrubbing enabled in MC. Outside of that it works great in MC.
The Matrox also works awesomely with PP CS6. I was using it a couple weeks ago to cut some 5k RED Raw files natively without transcoding and you would have thought I was using a DV sequence or something, it was so silky smooth. Totally awesome. I was impressed as could be.
Unfortunately, since Avid is my primary NLE, I switched over to a Blackmagic Intensity Pro card. This card works great with MC 6.x. The scrubbing is pretty decent. I can trim now while in audio scrub mode (still not perfectly, but it’s pretty good. Splitting hairs kinda stuff). All would be great, except this card doesn’t do any up or down converting, so it’s basically worthless when trying to use CS6 with footage larger than video frame sizes.
I can create a 1080p sequence for my RED Raw footage and get it to display from the record side, but you can no longer see your footage from the source side in Premiere Pro. Worthless.
So I’m looking for something that will make me happy in both applications too. I’m currently looking at the AJA Kona cards. Anybody have experience using these cards in both systems? Or the AJA I/O Express? Again, any experience in both systems?
Thanks a million in advance.
Michael, does the more expensive BM card work in both systems? I’d be willing to drop a bit more coin if it works.
Chris Conlee
MacPro 4,1 (8 core)
OS X 10.7.4
24Gb RAM
GTX285 (latest CUDA drivers)
MXO2 Mini or BM Intensity Pro (latest drivers) -
Thanks Walter. Er, I guess…
Do ALL the Kona cards work the same (ie the cheaper models)? I could pick an LHe up on eBay pretty cheaply. I’d like to find the perfect card for both Media Composer AND Premiere Pro CS6. I love the Matrox except for the fatal flaw that it won’t trim in Media Composer with audio scrub enabled.
What about the IO Express? Anybody have experience using it with both MC and PP CS6?
Chris
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Having recently tried to use PP CS6 for a Red RAW feature film, I can tell you that nobody (with the possible exception of Lightworks) is ready for Hollywood primetime. There were so many things I tried to do in PP that I was told (and it was confirmed by the brass) simply couldn’t be done yet: like matching back to audio timecode, or aux timecode. AAF exports from merged clips, no shared projects. Properly sorting picons in bin view. Not to mention the niggly little inconveniences, such as the trim tool not working the way I want it to. For all the groaning about Avid, the fact is there simply IS NOT another package with the depth of features for Hollywood narratives.
If Avid goes under, Media Composer would definitely find a home somewhere, because it’s simply the only tool available that does everything Media Composer does and Hollywood has come to expect.
Chris Conlee
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Yeah, 100% in agreement about the audio needing an overhaul. Why have RTAS plugins at all if they aren’t keyframeable? How often do you want the same ‘verb or EQ on an entire track? It is useful for applying some basic compression, but that’s about it. And more tracks is a must, in this day and age.
Chris
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Yeah, not sure what your benchmark for “Slow” is, but it doesn’t equate with my experience at all. I cut features and television all day every day, and have never felt Avid to be slow in any respect, compared to all the other packages I’ve used. Especially compared to FCPL, which was always WAY clunky to me.
I’ve been using PP CS6 and it is FAST, that I will grant you. Unfortunately for doing feature film work, it still lacks the feature set I need. No way to match back to audio timecode, only rudimentary bin sorting (while in icon view), lack of AAF export for merged clips. A few other niggly little things. But I’m overall VERY impressed with PP CS6 and could see myself seriously using it in the future. I didn’t even mind having to render outputs, because I could easily send the sequence to Media Encoder and render in the background while continuing to work.
And regarding “layers,” I’m not sure what you’re referring to. I play multiple layers in realtime all day every day.
To each their own, I guess. For my money, Avid is still the fastest, most feature rich and capable editor out there.
Chris Conlee
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[Dustin Parsons] “I’ll learn it if I have to but every time I go back and give it a shot I can’t shake the feeling that this is an old, slow, unintuitive program that, no matter how many version I skip before trying it again, doesn’t seem to change much”
You know why? Because it’s been doing high end film and video work for 20+ years and doesn’t need a “reimagining,” despite Apples’ feelings to the contrary. Honestly, I’ve used probably a dozen NLEs over the years, including MovieShop and Toaster Flyer on the Amiga, and D/Vision Pro on a 486. Speed Razor, Premiere Pro, Incite, Avid, Final Cut Pro, Lightworks, you name it. There isn’t an NLE out there that’s faster, in my opinion. Once you know what you’re doing, it as well designed as any editor I’ve used. Everything is right at your fingertips.
It may not be new and flashy looking, but after you understand it, you’ll never say it’s slow again.
Chris Conlee