Dennis Radeke
Forum Replies Created
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Hey Lance,
I honestly don’t know. I haven’t played much with Cineform since it got picked up by GoPro.
Sorry – Dennis
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[Bernhard Grininger] “the availability of field recorders determines the choice of NLE;”
True to a point. Remember, Premiere Pro can play Pro-Res no problem and can encode it at a cost of $50 for compressor from the Apple App store.
Avid DNxHD is a different story, but you can use AME as a batch, background transcoding solution to convert media to something that PRemiere Pro can use. yes, I know that’s not optimal at all, but it is at least one possible answer.
With many cameras having an HDMI output, you can capture via a hardware i/o, uncompressed or any other manner of codec that the io card supports.
All that said, the most important thing I can convey is that Adobe does recognize that while Native editing is best in most situations, a DI codec is important and we are looking into solutions and opportunities for the future.
Much more I’d like to say, but will leave off this missive here.
Dennis – Adobe guy
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I can’t comment other than to say it’s definitely a licensing issue between Avid and Adobe.
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[andy lewis] “Come on Adobe!
I want a timeline as good as FCP7’s and trimming as good as MC6.”We are working as hard as possible to make both a reality – time will tell if you are satisfied.
Best,
Dennis – Adobe guy -
[Douglas K. Dempsey] “Right, isn’t the idea to work in whatever native codec you shot, and then output according to deliverable: uncompressed, h.264 etc etc?”
Exactly. The cases where you want a DI codec are where the needs of the job vs. the performance of the codec dictate a DI workflow. For example, if you have an editor that loves to scrub around the media quickly and you’re using DSLR footage (H.264), and your system isn’t super beefy, then a DI workflow would be viable. Another example is where you need a proxy workflow because the editor is traveling to another location and you want to compact the project and then relink to the online media at a later date.
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[Gary Huff] “Do we really need another codec in the mix of DNX/ProRes/Cineform, especially considering that Premiere will work with all of them? If you need an intermediate codec at this very moment in Premiere, you can install DNX and Premiere will use it, whether you’re on Win or OSX platforms.”
While this is technically true, Adobe Premiere Pro cannot read Avid’s OPa MXF file natively. We can read the quicktime wrapped DNX but then that suffers performance because QT is 32-bit whereas Premiere Pro is 64. It’s still viable but not optimal.
Dennis – Adobe
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[Andrew Richards] “Licensing OS X might be great for Adobe and HP and pro users, but it is all bad for Apple. There is no upside for them. If Apple doesn’t want to play in the workstation market, they will just leave it. What does Apple gain by partnering with HP on workstations? They don’t save dev work on OS X, if anything they add significant hassle. They have the best industrial designers in the world, so it isn’t like they are short on talent. I just can’t see what advantage there is for Apple to hand over the keys to the OS X castle to a competitor, even if it is only for a class of computer Apple isn’t interested in selling anymore.
Apple is in a position where they can be in any market they want to be in. They could decide they want to make original content for iTunes and outspend NBCU’s entire 2010 production spending with 5% of their cash hoard. If Apple wants OS X on a workstation, they’ll make one. If they don’t, they won’t.”
I can’t argue this Andrew, which brings you back to the fact that Apple in some cases is going to force some of their customers to move to another platform quite possibly.
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[Michael Gissing] “Port it and they will come.”
We built a version of Premiere for SGI once and I think a version of Photoshop for Linux once. They didn’t come.
That idea does not make sense in a world economy with up to the minute information exchange and market studies. As I said recently in another post, anything is possible, but don’t hold your breath.
Like Ron and Tim, I have long thought very well of HP and agree that the Z800 is easily a better Mac in case design and overall execution than the current Mac Pro is. I have also thought that licensing OS X to a single vendor would make sense and HP would be on my short list. I also agree that it would be a win-win.
Dennis – Adobe guy
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a) I laughed…
b) Wow, that’s mean and I’m the competition!Cheers,
Dennis -
[Andrew Richards] ” If I were Adobe and Avid, I’d be looking very hard at porting my products to Linux.”
Stranger things have happened, so who knows. But for now, my comment must be a quiet snicker and *snort*. 😉