Dennis Radeke
Forum Replies Created
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1/16 resolution only shows up for RED type codecs (4k). You won’t see any 1080 type frame sizes give you any options below 1/4.
Personally, I have no problem with 1/2 on any HD codec and if you’re doing RED at 1/2, well then you’re cookin’ with gas, because you’re playing back 2k from 4k original media. Of course, you need a 2k viewing device at that point…
In principle, I like to be at full res whenever I can, but if the timeline or the hardware (laptop for example) dictates, I will bump it down as needed.
I think the main idea is that the USER has control of what might be equivalent to FCP7’s dynamic RT. Adobe is all about giving the user control.
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Here’s a blog post from Todd that covers GPU and mentions 10.7.4 and OpenCL improvements: https://blogs.adobe.com/premiereprotraining/2012/05/opencl-and-premiere-pro-cs6.html
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Thanks for pointing out the link which I didn’t look at originally. Loved the quote and now I kind of dig the reference. 😉
Dennis – Adobe guy
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Dave,
No, not to my knowledge. We stage our builds ahead of time and someone just figured out a way to get to them before we officially launched them.
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Trial limitations (there aren’t really any) for Premiere Pro
https://helpx.adobe.com/premiere-pro/kb/trial-version-limitations-premiere-pro.html
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[John Heagy] “For us ProRes QT is a big reason to hope FCPX will meet our needs. There will never be a better NLE for editing ProRes QT than FCPX unless Adobe embraces AV Foundation”
Walter nailed it below(above?) and I think it’s worth noting that Premiere Pro CS5/5.5/6 edit Pro-Res as good or better than FCP7 even with a 32-bit QT API. What you gain in openness with Adobe in workflows is significant.
We’ll of course gladly support you whether it’s just After Effects and Photoshop or a larger portion of the Adobe tool set in the future.
Best,
Dennis -
[Carsten Orlt] “Could you explain how it does work when you put 5 different codecs into one sequence? Will the final output switch on the fly between the different codecs or does it convert everything on the fly to a chosen master codec? I always thought you need a final render in the end at least?”
From Premiere Pro’s POV, there is no ‘codec’. It’s working space is resolution independent so it doesn’t matter. When you choose a sequence preset, it makes the frame rate, frame size, aspect ratio etc. conform to what you tell it to, but you don’t need to necessarily put that kind of media into the sequence. I’ll let McGavran or an Adobe engineer correct me here if I’m in error.
Premiere Pro seeks to make frame rate, codec, aspect ratio etc. unimportant to the editor. you should be able to mix any codec that we understand on the timeline regardless of how different it is from your sequence preset.
The only area where we’ve had problems is when delivering outputs for broadcasters to iTunes deliverables. When you mix certain formats together on export there are small interlacing issues we’ve experienced in the past. My understanding is that we have addressed those with CS6 and I’m looking to hear back from my broadcast customers about this specific thing.
Final output is what you make it. The idea is that you never render ever while editing. You only render when you want to make final outputs. So, the PRemiere Pro timeline has 5 different codecs on the timeline and you want to make an OP1a, an H264 and an Animation output. You would select those three output types and Adobe Media Encoder would generate them from the Premiere Pro timeline.
Hopefully, this makes sense and I’m answering your questions. Let me know if I missed something.
Dennis – Adobe
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[Michael Gissing] ”
I am no fan of FCPX but I do think it has reached a point where I can advise editors that there is a broadcast workflow if you want to use it. I know many feel burnt by Apple and this debate has certainly gone beyond bland comment often but slagging off at people in ignorance is hardly edifying.”Always agree 100%. Choose the tools that work best for you!
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[Carsten Orlt] “A lot of discussion here is also about native format support. I understand if you have fast turnarounds you like the fact that nothing needs to be transcoded initially (eventually it will). When you work for month on a single project I couldn’t care less about a few nights the computer humming away to get footage transcoded. Again exactly what FCPx does best. Ingest fast to get going and transcode in background. So mercury engine is cool but not necessary.”
As Greg already pointed out the Mercury Playback Engine is not what gives Adobe Premiere Pro it’s capabilities, it was there before the MPE came into existence with CS5. Apple actually called out in its announcement that they are ‘resolution independent’, something that Adobe said around the CS3 timeframe and actually goes back to the complete re-write that became Premiere Pro 1.0 (as opposed to Premiere).
The key difference between FCPX and Premiere Pro in this case is that FCPX still encourages you to transcode, though you can turn it off. Premiere Pro fundamentally believes in editing real-time natively all the time. You don’t HAVE to convert your footage ever. You can transcode if you wish, but we strive to make that a non-issue from an editorial perspective.
That said, with an iffy (read old) computer and highly compressed temporal footage (think DSLR and AVCHD), your experience in an all native edit might encourage you to convert your footage, which of course both FCP X and Premiere Pro (and many others) can do.
Hope this clarifies,
Dennis – Adobe guy -
We’ve certainly logged this feature request and are considering it. We take our customer requests VERY seriously. Unfortunately, I cannot be any more specific. In short, we get it. 😉
As Todd and I have mentioned previously, here’s the public feature request form: feature request
Dennis