[Drew Lahat]

Sh!t. You’re right, of course. 🙂

[Drew Lahat]

Honestly I’m still not sure what you’re trying to do, but what I did in my home studio is… run a BNC cable.

I sometimes do reviews, with or without clients, in a separate room with a big screen & projector. In my case I went for a used Decklink card, and an SDI>HDMI adapter on the other end. You can also use wireless HDMI gear in the chain, if you need to.

For control, I remote (VNC) into my editing system with my laptop. Simple and easy, with perfect video quality and no latency.

I have years of experience setting up storage servers for Avid and other NLEs in post houses… and going this route for this application would be a complete waste.

[Drew Lahat]

Hi Philip, ever found any updates or solutions?

[Drew Lahat]

Finally… meaningful post-production news from Cupertino! ????
Some less-obvious observations, from a post I wrote for CML:

1. That Cheese Grater Shape
You’ll find some “Krafty” comments about the “cheesy” design… still debating if Apple messed up again or if it’s charming retro. But then it dawned on me… it’s all about being able to pop off the entire external case – it’ll be easy to design alternative 3rd party casings! I’d be surprised if Sonnet and OWC aren’t already thinking those up. (Unless the case latches employ a 2048-bit encryption scheme with special T2 chips, of course. ☺ )

One more concern, and reason for a 3rd-party shell: If I’m seeing what I’m seeing… you have to disconnect all cables and peripherals before opening the computer. Just look at the way the case wraps below the rear ports…

2. Expansion
8 PCI slots! I don’t think any Mac ever had more than 6 expansion slots, and I also counted up to 12 Thunderbolt ports. That’s some scary expansion capability.

2 10Gbase-T ports (actually Nbase-T, meaning you can do 10, 5, 2.5, or 1 Gb Ethernet) are a welcome addition for shared editing workflows.

3. Storage
You get 2 M.2 ports for SSD’s, but that’s it. I’m not seeing any provisions for mounting internal SATA drives. There’s a large unexplained empty space above the PCI slots with what looks like 2 SATA ports, so you may be able to mount 2 SATA drives of your choice. But it’s notable that with a machine as big and heavy as the classic Mac Pro, there’s less space for storage. Apple apparently counts on you using a big external RAID chassis.

4. Rackmount
I got all miffed about how they screwed up again (the chassis itself is 17.1″ – but the handles it’s 20.8″), but thanks Andre for pointing it out – there will be a rack edition. It’s not in the specs, but in the press release.

5. $$$
Is Apple out of touch again, or is this a good value for the extreme specs? Everyone will have their opinions on that. Personally, I’m happy with my 2009 Classic Mac Pro which is churning along just fine. You can kit it to newer firmware, CPUs, modern GPUs, USB3, SATA6, SSDs… That makes me hope that this new Mac, in a welcome departure from Apple’s glue-all philosophy, could be useful on your desk 10 or 12 years from now. It’s been a while since we were able to consider Macs as such a long-term investment.

6. Pro Display XDR
The Dolby Vision specs for a reference monitor are SMPTE 2084/PQ, >1000 nits, P3 gamut, and 200,000:1 contrast. This display satisfies all those specs. Assuming you can feed it accurate color (no SDI ports here ☺ ) this could be a good budget Dolby Vision monitor. $5-$6K is insane for a GUI monitor, but a bargain compared to a $30K Eizo CG3145.

We had our expectations set a certain way after the trashcan Macs… and while Apple would never admit it, they actually went retro for once. A modular, expensive, top-spec beast that’s every bit as big and heavy as the 2003-2012 Mac Pros. Now we just gotta get our hands on the production units…

[Drew Lahat]

PS This company is known for making a software tool for alternative conversions:
https://www.aatranslator.com.au/

You can go directly from ptx to xml, for example, or from prproj to ptx.

And one more tip, if a conversion between software A and B doesn’t always work or work well enough, an “intermediary” could help – for example Resolve can be surprisingly useful at transferring timelines between Avid and Premiere, sometimes giving better results than attempting a direct AAF import.

[Drew Lahat]

A reply from the future… (in case others stumble on this thread, like I have):

Nikola’s need was totally valid, so I don’t feel like an “Avid Answer” (“why would you want to do that?) was in place here. At least as of 2017, exporting from Pro Tools to Premiere (via AAF) should work.
https://www.youtube.com/watch?v=LAJIP5Clp18

One valid use case: I’m editing a music video of a live performance, which had 7 takes recorded in sync. The music editor made 13 edits from those takes, and I want the base of my picture edit to be the master shots corresponding to the sound edits, since I know lip sync would be perfect.

Besides…
even in a resolve workflow…. it’s PPro > resolve…. not resolve > PPro (with edits anyway)…

Umm, ever heard of “round-tripping”? Been around since before 2015… As an online editor, I’ve been sending XMLs with edits back from Resolve to Premiere for years. It has its limitations, but it’s a common and useful workflow.

Round-trips (NLE>DAW>NLE or NLE>color>NLE) can be tricky and are not always the best workflow, but often they are.

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[Drew Lahat]

It’s a big deal when you’re trying to listen to 40 sound effects in a row. ☺

And anyway for me the ‘play’ button in the preview area is grayed out. 🙁

[Drew Lahat]

Thanks Jamie, David,

Those ideas were very much in line with what I figured. As for the detailed steps, instead of #2 I just lay the alt-language selects in muted layers, in the relevant positions. It’s as close as we’ll get to a dual-version edit without forking.

Ultimately I had a conversation with the director/producer yesterday and I was able to explain the complexities involved in this path. He determined that having an English version now was a “nice-to-have” but not a must, and so we may shelve it. The production’s resources don’t allow having a 2nd editor at this point (or more so, don’t allow the efficiency loss of duplicating changes to a 2nd similar-but-not-identical film). We’ll focus on the Israeli edit first, then US.

[Drew Lahat]

This question is still totally relevant and applies to other C-series models…

The idea about embedding metadata in HDMI is nice, but a bit exotic… an considering how conservative Canon is as a company, I don’t hold my hopes high that they’ll ever implement that.

But I think the OP’s question had nothing to do with HDMI, and he was working with the internal recording.

Canon XF utility doesn’t help with AVCHD or MP4 clips, and Premiere’s support for camera metadata is between abysmal to nonexistent… But exiftool may be able to see a lot more metadata than you thought. Hardly a smooth workflow, but give it a shot.

[Drew Lahat]

Actually, the video andy shared highlights the problem: It’s not you (and often it’s not the camera), it’s Premiere. The guys are scrolling through the camera metadata fields, and they’re all utterly blank. They’re mumbling that “it’s all there”, but it isn’t.

For sure, not all cameras record all metadata; but for the vast majority of cameras and codecs, Adobe never bothered to parse the metadata so you could see it in Premiere. If this bothers you, please vote for this feature request:
https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/34796998-ingest-camera-metadata

Often, if you download the manufacturer’s respective software (like Canon XF or Sony Catalyst Browse), you’ll be able to see the metadata you need.