[Eric Santiago]

[Michael Phillips] “RED ROCKET accelerates decode for a transcode. It does not accelerate playback. It also kicks in when rendering an R3D file, but only as a function of a decode, same as a transcode.
“

Yep that I knew for years but needed Avid tech to support that but so far all I get is the “its not supported” jibber 😛
Main reason I needed official word is so that I can tell the end user to not fixate on the ROCKET in our workflow.
Wasted so much time and resources dealing with BMD/Avid/RED/Apple on this 😛

[Eric Santiago]

[Robert Ober] “How are you doing UHD streaming? Using a vendor that supports UHD streams?”

Sorry Robert wrong choice of words.

I meant to say that Im viewing 4K via US4K.

In regards to the ROCKET, yes it is a fact that you dont need it if you have nMP with D700 and super fast RAID.
However for me its ability to spit out dailies that helps.
For the studio it doesnt sound like it does anything.
And I still cant get an official word from Avid support on where it helps in Avid MC.
I thought it on their website that it helps in Transcoding and more?

[Eric Santiago]

Thanks Aindreas for bringing up the Marking Menus from Maya 🙂
In the past Ive brought that up with Adobe and have asked numerous times to steal it.
I love that option in Maya and hopefully someone writes an OS plug-in that can be utilized on all apps 🙂

[Eric Santiago]

[Oliver Peters] “Such as?”

At the moment the whole RED file system is keeping me from even trying harder.

When I couldnt get the RED files in via import as oppose to the Media Browser that felt a little cumbersome.

Then after loading the first day of a 100 clips and attempting Merge with Audio (sound not tc), I got a little annoyed at that point.

Now Premiere has been in my tool kit since 1994.
I know the basics and they all match with the current NLEs.
But of late I just lose patience when I cant do the same workflow as FCPX.
Maybe its old age 🙂

[Eric Santiago]

[Oliver Peters] “But wait. Aren’t your issues with Premiere Pro largely due to trying to move complete productions between different NLEs? That’s difficult under nearly every circumstance. In any case, if you don’t like CC2014, then I’m afraid CC2015 won’t change your mind.”

Partly yes but there are other options not quite there for myself.
I was hoping some of them would be answered in CC 2105.
I will wait it out till the smoke clears.
Im reading enough in the Premiere forum to keep me away for now.

[Eric Santiago]

I have the UltraStudio 4K and I can stream 4K easily.
However our issues is that it doesnt play nice with a RED ROCKET.
Now were getting to that point where it doesnt make sense to use the ROCKET (unless were doing mass transcode) since I dont think Resolve/Avid is utilizing it in the new Mac Pro (according to some reliable sources).
Even Avid tech support replied that they do not support the ROCKET but I requested an official statement since a lot of their marketing and tech pages suggests it does.
Now as far as two Thunderbolt 2 ports on the UltraStudio 4K, I wonder if that was for video input?
I dont have a camera that does that but curious of thats the case.

[Eric Santiago]

I know this is the internet and we all have a soap box to stand on but for me if it doesnt work then my thoughts will be just that…Premiere doesnt work for me at the moment. Should I bother to see if CC 2015 fixes my issues?
Well if push comes to shove then I guess Ill have to but for now, I just need it to work for what my intentions are and it still doesnt with CC 2104.

[Eric Santiago]

[David Cherniack] “If you’re trying to sync using only audio waveforms it would need properly selected tracks with clearly defined signals to find the matches. But it typically works well.

It’s a longstanding problem about importing some Red folders. Clips with multiple 4GB segments are created created correctly but with duplicates. The Media Browser imports folders with single segments without problem.
“

The R3Ds have one channel and the WAVs from Sound Devices had 4 to work with.
Tried all options.
PluralEyes had issues too but I think more so with RED files.
Okay well as far as the Media Browser I have to go with what the norm is.
If Avid and FCPX can handle the files why cant Adobe? I mean sure I can import it all in AE then do DL but thats just silly now.

[Eric Santiago]

Just set up a full feature for audio sync then Resolve.

The end result however will be Premiere 😛

For audio sync and per clip check (I made a Clip List of scenes, takes, info, errors, etc.. in Google Docs using the R3D names) I put them all in Day events.
During the clean up I also added keywords for scene numbers.
After all that if for some reason the project comes back to me and needs to be done in FCPX (crossing fingers) I can now just select all the R3Ds and drag em into one Event with a top root Keyword e.g. R3Ds.

The decision to use Premiere is due to the editors knowledge nothing personal.
The pain to setup an RED project in Premiere let alone the failed audio sync option (just doesnt work for some weird reason) is too much for me to deal with so hoping Xto7 will be fixed by the time I get the project back from rough edit.

[Eric Santiago]

Im Asian but not Chinese so can I chime in 🙂

For me its just been a major PITA working with FCPX, Premiere and Resolve.

I really had to remove the one that wasting all my time and sorry to say its Premiere.

With my current workflow of prepping R3Ds and Audio Sync for rough edit, Premier did not (pardon the pun) cut it.

Im sure Ill get flamed for my comments but Id rather step in and give my 3 cents (Canadian here) that most of us just wants things to work.

So until I figure out why the R3Ds from a full feature shoot (1100+ clips) cant sync via audio in Premiere but smoothly in FCPX, I will be forced to stick up for the one that does work.

Also, why cant I just import a freakin R3D via folders in Premiere without pulling my hair? That Media Browser is poop to me.

I guess I just got so used to AMA Bins/Event Browser.