Dennis Radeke
Forum Replies Created
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[Craig Seeman] “That Avid and Adobe may also have to go through a major change if they need to support it.
That Apple, which controls Quicktime, may muck with that in ways that impact Avid and Adobe negatively.”[Jeff Bernstein] “As one who helped create QuickTime in the early years, I can tell you that Avid and Adobe have well-placed fears of entrusting the core of their products to Apple.”
These are good points and would be considerations if Adobe were dependent on Quicktime. Wherever possible we work around the QT libraries, primarily because of it’s 32-bit limitation. This is how we achieved good performance with Canon 5Dmk2 .MOV files. The two key codecs that I think of where we have to use the QT libraries are ProRes and DNxHD. In the case of the former, ProRes seems pretty optimized for QT and so we play and edit it just as well as FCP 7. For DNxHD, the editing experience is okay but definitely not great.
The point is that Adobe, like any company doing business, wants to shield itself from future problems. As many have pointed out on this thread, Apple’s practices can be harmful sometimes to other companies. Therefore, we do as much as we can to limit the dependencies of Adobe and our customers.
Moving forward to anticipate your next question – No, I do not know what Adobe will do with AV Foundation. 😉 Did I guess right? I will say that we have been working with Lion for a long time.
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[Andrew Richards] ” What’s the only thing selling $9,000 Mac Pros and returning their big, fat, per-unit margins?”
What if there are other pro apps that sell those $9000 Mac Pro rigs? Photoshop. After Effects. Avid, Maxon, Autodesk. Does Apple really need a ProApps division anymore, especially when their largest sales and profit centers are decidedly non-pro? Perhaps, but the question is definitely a discussion point these days.
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DNxHD is an Avid proprietary format. Adobe Premiere Pro can decode it if it’s using the Avid Quicktime LE codec pack that they put out for free. Premiere Pro however does NOT decode native DNxHD .mxf files. This is a licensing issue. Ditto for ProRes.
The lag that you describe is due to (I believe) invoking the QT player which is as you know 32-bit. Whenever possible, we work around the QT Player so to avoid it’s performance issues for a 64-bit application. We do that for Canon/H264 for example. FCP X I believe does the same thing through AV Foundation.
Hope this helps,
Dennis – Adobe guy -
The ‘democratization’ of technology has always been one of the cornerstones of this industry IMO…
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[Christopher Beeger] “AND it’s 35mm not 32mm.”
Thank you! Not correcting that was like having something stuck in my teeth.
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[Peter Corbett] “I’m pretty sure that the demo doesn’t have all the codecs and full features.”
While previous versions did not include all codecs (due to licensing issues), with CS5.5 we truly have a fully working product that is complete. It includes all codecs, all features, no watermarking. Make money with our product for free for 30 days.
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[Geert van den Berg] “One gripe I have is that Premiere and Media Encoder aren’t flexible in exporting other audio configs than stereo or 5.1. (might be a limit of the demo’s though). I’d like to have the option to route the audio to as many tracks and configs on output as I need in a Quicktime or MXF container.”
Yes, this is true. We know that we need to create multi-track audio outs for the future. It is not a feature of the current release but we know it’s something we need to do.
For anyone who wishes to submit a feature request (or a bug report), please look at the following link:
We take a look at these submissions, log them, and count them with an idea of implementing as many of the top ones every release we can. Of course, it’s always fewer than we’d all like!
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[Aindreas Gallagher] “when do you think Premiere [Pro CS6] is likely to ship?”
We’ve become very public about our releases, which I think is good for the community and our customers. We ship major versions (5, 6, etc.) every two years, so that means CS6 will ship sometime in 2012. In the intervening years, we do a ‘technology update’ which is the .5 version. We do this because we want to keep our customers current on the rapid pace of innovation but also give them flexibility about when it makes sense for them to update. So from that, you would expect a CS6.5 sometime in 2013.
[Aindreas Gallagher] “Without being specific – what’s like ye’re main focus this time round would you say”
I will be specific – our focus for CS6 is the prfessional/craft editor. Yes, I thought you’d like that.
[Aindreas Gallagher] “interaction with third party hardware?”
With the 64-bit rewrite behind us, both Adobe and our partners (hardware and software) can focus on innovation and supporting new workflows. In CS5 we worked very hard to support our hardware partners to make sure they were able to develop support. That said, it still took a while. Now, we expect support to become easier as time goes on. AJA just announced 5.5 support with MPE support – nice!
[Aindreas Gallagher] “Shane Hurlbut spoke about premiere’s handling of DSLR footage for large screen projection – he said ye had looked into the specifics of the codec in a fairly big way, got your hands dirty – what did that entail? that bit made me very curious.”
In a nutshell, we worked directly with Canon to make sure that our handling of the files and display of their color space was as robust as possible. We have the roadmaps and partnerships of all of the major camera companies and we work with them to make sure our products work well with their acquisition formats. With DSLR proliferating so quickly and serious story telling being done with it, Premiere Pro can be a good production workflow for a lot of it, including outputting DPX files for final grading.
Hope this helps satisfy your curiosity. 😉
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[Aindreas Gallagher] “Hi there, nice deal! what’s the situation with cineform after the Gopro purchase? Is the codec going to remain commercially available going forward do you think?”
Hard to tell Aindreas, but given that the codec is dependent on having usage and host applications, I think that it will be just fine. Adobe also understands that while native workflows are best, there are situations where having a DI codec is good…
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Hey Bret, I have no idea. You might try another browser. When I had an iPhone (3g), I never used Safari. HTML 5 is showing up fine on all of my device browsers.