Dennis Radeke
Forum Replies Created
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[Craig Shields] “A lot of folks edit on their Retina MacBooks and other laptops. How about Adobe make it so PP is more stable with these computers? I don’t think we should have to buy desktop machines to get stability. When my company used to edit with FCP 7 it was rock solid on laptops.”
I said this in the context of the project he was discussing, namely a full length documentary, probably with 10,000 or more assets in it. The larger the project, the more RAM is useful to keep the performance the way editors expect it to be. My main point is that you can and should use more RAM if possible.
Premiere Pro is very solid on MBP and that is my main laptop. To reiterate, I would never suggest that you need to use a desktop or workstation to use Premiere Pro effectively.
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[Robert Withers] “The feedback here is worth whatever it is worth to you, if only to give opportunity to justify your decisions.
What I’ve never heard from any Adobe guy or gal is a response like, “Hmmn, I understand how you might think that. Here’s what we’re thinking.””Hey Robert – Well first off, your opinion and input is always valuable to Adobe and to be fair I think to most software companies. I think Adobe has rightfully earned a reputation of trying to listen and respond to customer input as a whole. I would give a large measure of our current success to that very point! 😉
We do understand how the pace of innovation (and by extension change) may be too fast paced for some and we are constantly trying to balance so many factors like this to make the very best software release we can at any given time. Inevitably, we can’t please everyone and I do get where you’re coming from.
To that end, we are focused on addressing some of what you say in upcoming releases. I’m sorry to say that I can’t be more specific at this time, but I believe it will be good even if it is a bit invisible.
The other side of the coin for us is that if Adobe doesn’t constantly innovate and address other customer concerns and feature requests, our competition will. I’m afraid it’s a bit of a catch-22.
Customer will always come first, it’s just that some customers want more innovation based on their current needs than others and that isn’t likely to change in the foreseeable future, alas!
[Robert Withers] “I post in these sessions more to interact with other editors than to expect to influence Adobe in any way.”
For sure! Yet, I would point out that folks like myself, Todd Kopriva, Peter Garaway and others lurk in these and other forums to provide assistance and take your input here as part of our overall commitment. Hopefully, the Cow’s input positively affects Adobe products – I think it does.
Dennis – Adobe guy
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[Steve Connor] “I can’t remember, is there a warning about project compatibility when you upgrade?”
Yes, you’re prompted to do a ‘save as’
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Hi Scott,
It would seem there’s something wrong somewhere as I can play ProRes of about any flavor all day long on my laptop at full res.
To get a clean start of it, I would do this to a tee
Dennis
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Stating the obvious, but Premiere Pro CS5 doesn’t officially support OS X 10.10.2.
That said, the best thing is to at least get up to the latest version of Premiere Pro CS5 which you can find here: Premiere Pro Updates
Good luck!
Dennis – Adobe guy -
Hi James,
Sorry that you had some issues with your project. The command you’re looking for is ‘alt/opt’ and the ‘+/-‘ keys to increase or decrease the track height of the audio tracks. Video is the same but with the ‘cmd’ key.
Couple of suggestions if I may for the future. If you’re doing a feature then I would strongly recommend doing it on a computer with at least 32GB of RAM or more. I’m assuming your laptop had 16GB as I don’t know of a Mac laptop being able to have 32GB of RAM in it (or I would own it!)
You did the right precautionary measures for sure and perhaps those helped contribute to the project working out okay. One thing to look for is at the bottom right of the Premiere Pro interface. If you see a progress bar there, it may be that your audio is not uncompressed or may need to be read in order to display the waveform in Premiere Pro. This might have accounted for the problems after your initial crash. Once the files are regenerated (If you’ve trashed media cache, this will happen) then performance is sluggish until it is finished.
One other thing that you can possibly do to help troubleshoot in a crisis is to create a new project and then import the other project or timeline that you need into that. It can also resolve some issues in practice.
Good luck and congrats on the feature.
Dennis – Adobe guy
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Robert,
See my note above in the same thread. We do work to have project files compatible at all times with a variety of options. I explain this year’s exception above.
Cheers,
Dennis – Adobe guy -
Hi Bryce,
I tried this on a 640×480 clip and was also able to reproduce it. You’ve logged it as a bug and I will pass it on to the ENG team. If you have a bug # that you got back, please let me know.
Thanks,
Dennis – Adobe guy -
[Scott Clements] “However, I’ve read that Premiere currently doesn’t import AAFs (there’s a current bug and I do not want to uninstall Premiere and install an earlier version)”
Hi Scott, it’s always great if you can include the link where you read this or give a description of the bug. Simply put, Premiere Pro most definitely DOES import AAF and we’re doing a much better job of it over the last couple of versions. I”ve got a couple of customers where an AAF workflow is pretty important and it’s working for them. Can you elaborate specifically on what’s not working there?
[Scott Clements] “Or is this Premiere-specific ProRes problem a result of the Apple/Adobe war?”
There certainly isn’t any Adobe/Apple war. Yes, we compete in certain areas, but we have more areas where we compliment each other than where we compete. Given that, people and their NLE’s are a passionate bunch, so I know what you mean! 😉
As for poor playback, you do have the option of a chosen playback resolution which always allows the user to balance real-time playback versus quality. So, if you have a complex portion of the timeline which isn’t going to play real-time, then you can bring it down a notch. You can get more details here: Playback options
To answer your question, when we bring in an AAF, XML, etc. I believe that we make the sequence settings ‘custom’ since we don’t inspect the sequence for any given codec. The yellow bar in this case is not emblematic of any problem or will it compromise its playback capability: Premiere Pro is a resolution independent playback engine. Since ‘Custom’ doesn’t have any particular codec assigned to it, it automatically gives you a yellow line. If all your material is ProRes HQ and you want to get rid of the yellow line, create a sequence preset that matches the clips, copy and paste the clips into Premiere Pro and you should be good to go.
One final note for you. With Premiere Pro (or any 64-bit NLE), the system performance is based around the balance of the computer you are using. In other words, it is only as good as the sum of the components. RAM, CPU, GPU, HDD speeds are all crucial factors to making your system perform at its best. The two easiest to address are RAM and possibly a GPU (if an old Mac Tower).
Thanks for using Premiere Pro and good luck!
Dennis – Adobe guy
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[Walter Soyka] “After Effects only changes file format on major updates.”
This is true as a rule for Premiere Pro as well. The exception to this was Premiere Pro 8.1. There were so many important new features that we wanted to get in that we had to make changes to the project file format that go around. That includes features like masking and transcode&consolidate, which I think we all would say were important additions.
But again, only major, full version updates do you generally expect a project file format change.
Dennis – Adobe guy