David Cherniack
Forum Replies Created
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[Chris Kenny] “Apple now having the most modern rendering engine”
I guess in the sense that it’s the latest to be released, that’s true.
Is it the best though? And really it’s the playback engine that matters, not the rendering engine. I’m a little perplexed why they background render everything to Prores for performance if the playback engine is that good. Also, from what I’ve seen in the Animating with Keyframes tutorial above, the playback performance appears to be poor (dropped frames) compared to doing the same thing on a moderately powerful Premiere system.
All I’m saying is that performance tests need to be done by independent parties before claims of performance, inferred or otherwise, are made. Nonetheless I found it iteresting that the Apple site made no claims about relative performance compared to Premiere or Avid. They may already know something that the rest of us do not.
David
AllinOneFilms.com -
Do you mean capture codec as in digitizing from tape? Or do you mean an intermediate codec? I assume you mean the latter. As far as a capture from tape codec, Matrox provides a very good iframe codec but not as good as the last iteration of Prores. If you need to capture 10 bit all third parties parties provide uncompressed, which is better than prores.
As far as an intermediate codec it’s only needed when needing to render effects with a higher bit order. For those times that I need 10 bit I use uncompressed or AVCIntra 100. If I needed better I could always buy Cineform. But it’s true Adobe does not yet provide their own robust intermediate codec.
David
AllinOneFilms.com -
It should play in real time when scaled to frame size is on unless your system specs are way too low.
If it won’t play in a sequence with the correct XDcam preset it may have been transcoded?
Try creating a custom sequence with that frame size.
David
AllinOneFilms.com -
According to Stu Maschwitz’s blog https://prolost.com/ they just got the SDK and FCP-X this week:
“I’m downloading it now for the first time.
So is the rest of Red Giant Software.
In the past two months, Red Giant has cancelled two products and one appearance out of uncertainty regarding Final Cut Pro X’s support for the cool stuff we love to build for you guys to get your work done.
Anyone care for a drink?”
The statement from the Red Giant site would appear to contradict that but it may be the result of some arm twisting from Apple and “happy to help out” from the higher ups at Red Giant.
In any case the release doesn’t mention Colorista, only Magic Bullet and anyone who uses Looks can tell you it’s a different beast from a key frameable, integrated, plug-in. It’s really just a hook to a separate app. Looking at the FCP-X interface I don’t see room for key frameable plug-ins integrated with the NLE. Am I wrong?
Not that there’s anything terribly wrong with the ‘separate app’ way of doing a plug-in. I’ve use Looks in my broadcast documentaries. But there are two shortcomings of that approach: the lack of keyframes, as already mentioned, and the lack of an ability to look at changes in situ on a broadcast class monitor. That’s assuming that there are the hooks in FCP-X for the 3rd party IO developers to write drivers for direct play out via SDI – Or can thunderbolt eventually fulfil that role?
David
AllinOneFilms.com -
[Adam Claude Jones] “Premiere has been around for longer than FCP and yet FCP managed to gather that ecosystem but premiere never did. This is what worries me about moving to premiere.”
Adam, this shows a lack of knowledge about Premiere’s history. In its present incarnation it’s been around for a lot less time than FCP.
Premiere Pro was a 2003 total re-write of the Premiere Randy Ubilos wrote in 1993 that was used mostly by amateurs. The re-write was done inside Adobe. Versions 1 through 4 were 32 bit and suffered for memory shortage, especially when used with IO drivers. It was difficult to use in a broadcast environment. Few did.
Version 5 (2010) was a re-write for 64 bits that suddenly turned it into a stable speed demon that could playback just about any native codec thrown at it. It was really version 1 in the same way that FCP-X is version 1 but Adobe kept continuity with the past, and post facilities began taking a serious look at it. Some like the BBC began using it. But with FCP’s enntrenchment and all the iron invested in the FCP eco-system, there was a reluctance of most to switch, even though in terms of raw performance it was clearly way ahead. Now, that’s likely to change.
So just in terms of the time that Premiere Pro’s been on the market, at most it’s about 5 years less than FCP and really, in terms of a viable candidate for higher end pros to switch to, it’s about a year old. At NAB they released a fairly strong update to 5.5
You can read all about Adobe’s vision of the future for Premiere and the video apps:
https://tv.adobe.com/watch/industry-trends/adobes-vision-for-professional-video/
Jim Guerard, of the Pro video division lays it out very clearly what their intentions are. They want to be right up there leading the market. I have no idea whether they’ll succeed but as a user since 2005 I’ve seen a radical shift in their approach over the last couple of years that leads me to believe they’re going to give it their best shot.
David
AllinOneFilms.com -
[Adam Claude Jones] “I’m sure if I start using premiere and start cutting weddings in lower formats or corporate interviews from AVCD, XDCAM and DSLRs and I get a workflow question I will have a million help replies. I’ sure if I come with a question of how to do a title sequence in AE and import into premiere I will be a quick reply.
But will I be able to get help when I come with higher end questions? +How many premiere users here use it for long form work?
How many premiere users here cut DPX sequences? What are the premiere needs for a DPX post workflow? Any caveats?”
Hi Adam,
You’re really operating from old information. With the 64 bit CS5+, the Mercury Playback Engine, and RT CUDA effects Premiere began have sheer playback power and long form capability. I use it for cutting complex hour documentaries 500+ events on 10 tracks of video and 10 tracks of audio with no slowdown.
The only reasons it’s failed to move into a lot of high end post facilities are inertia, ignorance of it’s new capabilities, and a shortage of a complete third party ecosystem, that have had the time to develop around Avid and the ‘late’ FCP, that make it unsuitable for some uses. The last has been slow to change, however, but will probably accelerate greatly as people start moving from kicking its tires to taking it out for a test drive.
David
AllinOneFilms.com -
Hi David,
You need to ask Black Magic. The RS422 PPT drivers are all written by 3rd party hardware companies.
David
AllinOneFilms.com -
[Alex Hawkins] “BTW Anybody using it on a Mac?”
Probably not because most of the edit*ors who went the Adobe route stayed on Windows boxes. While I’m told that CS5.5 performs with parity on Macs I have no experience with it and most of the 3rd party IO folks maintains separate support lists for Mac and Windows because the drivers are different.
You might want to ask any questions in the Premiere Pro forum which is seeing a lot of curious FCP folks.
David
AllinOneFilms.com -
I’m not on a Mac and I use Matrox but I have heard Mac users say that on Macs Premiere will read, write and play Prores files in Real Time. I would suggest using Todd’s link above to the Adobe site and searching for answers there. There’s also a very active forum.
David
AllinOneFilms.com -
Did you install the Premiere drivers for BM or AJA, whichever you have on your machine? The third party drivers install their own timeline presets.
David
AllinOneFilms.com