Dennis Radeke
Forum Replies Created
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I think what you’re talking about is a graphics card compatibility and not a compatibility problem with Adobe and FCP on the same system. That’s what I was talking about.
As for GPU, yeah it’s nice but as I’ve said repeatedly – the 64-bit nature of Premiere Pro and the memory addressing account for most of the performance that you’ve heard about. The GPU is just icing on the cake. I would take Premiere Pro with an ATI card and not even bat an eyelash.
As you said, hopefully the GPU issues work themselves out and you can have choice on the graphics cards.
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[Michael Gissing] “It might be having FCS and CS5 on the same machine is your problem.”
I have never heard of this being a problem and believe me I would. There are probably hundreds of thousands of Mac users that have both a version of FCP and a version of Adobe Production Premium installed on the same system. While not impossible, I would consider it unlikely in the extreme.
If this were the case, Adobe would have a major problem selling to Mac customers…
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You should probably try Log and Transfer for just about all of your footage. If you go into the settings, you can make sure you’re using a high quality codec like ProRes422. If you’re finding success with NeoScene, it amounts to much of the same thing.
When outputting your final product, it’s important to consider what the deliverable is (DVD, on-air, web, etc.) and work to create a specific output that meets your quality criteria within the limitation of the medium. I would say that doing some research on encoding would be time well spent.
Good luck.
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[Olin Padilla] “Also, Adobe Premiere is capable of editing raw AVCHD footage because it is 64bit,”
Ah, Premiere Pro is, but Premiere Elements is not. However, like Premiere Pro and Adobe in general, Elements will read the files natively.
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[Chad Calverley] “How does one go about converting the DVDs into a format for FCP 7 or Premiere CS5?”
For FCP, I think that converting to DV or DV50 would be the best choice. You might also explore to see if ProResLT would meet your quality requirements.
With Premiere Pro CS5, you can actually import the original .VOB files into the application and edit them. Further, you can actually do an edit with a single DVD in the drive and not even copy the media over. Not what I would recommend but it is fun to actually play with.
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Rafael, respectfully I would say this…
“All these GOPs based format are great for acquisition, but not for editing in Final Cut Pro.”Many other tools can edit GOP based material without difficulty. And the reality is that most new camera formats/codecs are employing GOP based material because it allows them better image quality at a lower data rate. I’m not an expert but I would guess that this opens up options for them in the camera design.
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There’s probably a lot here that you’re not saying that will dictate some answers by others, but I can say that if you’re going to be using any of the Adobe video tools (After Effects and Premiere Pro), you’ll want to load up on memory for your imac. 8GB is okay, 16 is better. There’s lots of threads on the web about this.
Wacom tablets – what works for you? I’ve had a bunch but like the small one when I’m using a tablet. Others feel differently.
Good luck and have fun.
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[John Heagy] “If you are using RT to go to tape.. remember, RT is only 8 bit and who knows what other short cuts it’s taking to preview mixed codecs. It’s called “preview” for a reason. Adobe refers to it’s Mercury engine the same way I believe.
The render is unavoidable… we choose to render first.”
There are no short cuts as you suppose and in fact mixing multiple codecs on the same timeline is not a function per se of the Mercury Playback Engine. The ability to mix’n’match was available in CS4 and I did an Adobe TV episode on it called the Incredible Playback Demo (or something like that).
To output to tape or create a file-based final output, clearly you have to render. Adobe does it with all CPUs in 64-bit goodness. The difference here is the definition of preview. With FCP, you may have to convert your footage to ProRes to begin with and you may at some point have to render a portion of your timeline to preview your show. Premiere Pro works natively with files and will play them in full res in realtime assuming your system is adequate. Our editing methodology or ‘preview’ allows you to edit faster without interrupting the user with renders.
In the end, like most things, it comes down to what your preferences are. Any two editing systems offer certain advantages over the each other and I don’t expect that to change in the near future. Choose the right tool for the job or based on your preference. Chances are you have both of them already. 😉
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David,
Congratulations on your winning.
Any metadata is usually stored within the file itself unless the format does not support embedding (such as MPEG2), then its a sidecar file (.XMP).
If a .MOV was run through speech analysis, the metadata is preserved directly in the .MOV. In Premiere Pro, this metadata would be expressed and viewable. In FCP, because it doesn’t support XMP or currently have a strong metadata workflow, the file will play and perform normally – it will just ignore the metadata.
Unfortunately, unless you want to invest in the 3rd party solution mentioned for FCP, you don’t really have any other options.
Good luck on your documentary.
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[Chris Arriaga] ” (I also have Premier Pro CS4 to use as well, but same problems)”
As an aside, Premiere Pro CS4 natively supports XDCAM EX media, the only thing you might need for your mac is Sony SxS drivers for your mac. Good luck.