Forum Replies Created
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Garrett Gibbons
September 27, 2014 at 6:48 pm in reply to: prores 422 hq vs prores 422 vs prores 444Arsen, that’s a great analogy!
My one footnote to that is though your source footage may have been acquired as 4:2:0, depending on the grading/VFX work you do, you will probably want to be working in a 4:4:4 or at least 4:2:2 color space to retain the new data that has been added to the original image.
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Garrett Gibbons
May 25, 2014 at 12:25 am in reply to: Premeire cs6 Bloating again – Beware when using Warp StabilizationIt doesn’t seem like an acceptable solution to me to have to fork a project file several times just because one plugin creates bloated, problematic metadata. Either the metadata should be stored alongside the source media (as in FCP7), or in the system cache, or really anything else. This has been going on since CS4 and isn’t resolved. Mind-blowingly bad response from Adobe.
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Garrett Gibbons
May 23, 2014 at 8:59 pm in reply to: Premeire cs6 Bloating again – Beware when using Warp StabilizationThis is affecting me today, in Premiere CC, using warp stabilizer clips. It’s a nightmare. Adobe is as bloated as this project file has become.
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Hi Edmar!
Unfortunately, the 60D doesn’t record raw video – it’s a highly-compressed h.264 codec that is recorded in camera, which is awful to edit.
I highly recommend the following workflow:
• Import original h.264 files to disk
• Transcode original h.264 files to ProRes 422 or ProRes 422 HQ (ProRes 4444 is overkill for footage that was compressed in camera)
• Edit & color using ProRes files
• Export a ProRes master file
• Transcode the ProRes master file to h.264 for delivery on YouTube, Vimeo, etc….
• Delete ProRes footage, retain smaller h.264 source files in archives (because if needed you can generate the ProRes files again in the future) -
Garrett Gibbons
August 2, 2013 at 3:59 pm in reply to: 4K versus 2.5K versus PCC – Decisions, DecisionsJust a bump on this thread. I’m sure you’ve all seen it by now, but Blackmagic just dropped the price of the 2.5k camera by $1000, so it’s $1995. That’s going to make this decision a bit more interesting for some of you! Exciting times to be behind a camera!
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Garrett Gibbons
May 25, 2012 at 5:50 pm in reply to: Final Cut Pro 7 won’t open after installing CS6 (Premiere Pro CS6 gets revenge?)I found a solution: the master templates from Motion were causing the crash. I reinstalled Motion and the templates (from the additional content discs, which I hadn’t touched in my reinstall – just the FCP installer). That solved it!
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I know this is an ancient thread, but I’m experiencing the same issue. Nothing helps, yet. I’ve reinstalled FCP7 from the group up a few times and the problem persists (crashing while loading Master Templates). I’ll post if I find a solution.
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Been having this same error, and it’s clearly associated with VC Twitch. I’m in 11.0 (AE CS6), running QT 7.6.6 on Mac. I deleted QT codecs, reinstalled QT 7.6.6 + codecs, trashed preferences, repaired disk permissions, restarted a few times, tried placing the sequence in the render queue before a relaunch, tried rendering to TIFF sequence, ProRes, Lossless, etc… and all failed.
My conclusions:
• Nobody knows what that error actually means
• It amuses me that “reinstall windows” is viewed as an acceptable troubleshooting step -
Garrett Gibbons
April 17, 2012 at 6:52 pm in reply to: I’m at the editing software crossroads. Advice?Read what I wrote again, more carefully: 4 GB per core on an 4-core system. 16 GB RAM isn’t the bare minimum for Premiere. Adobe recommends 2 GB per core.
And yes, I’ve yet to have a face-to-face conversation with an editor who uses Premiere on the Mac and doesn’t report incessant crashing. The Windows releases have been more stable but the app has a strong stigma of being a crashaholic. I can give you personal cell numbers and email addresses if you want to follow up with other editors. In LA it’s a joke app with the studios. Only small-job editors will touch it because of its instability. Plenty of people (me included) want it to become more of a viable option for the post-production pipeline, but it’s generally not taken seriously in the studio environment.
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Yeah, I love how the early FCP X demo was based around this gorgeous, well-lit, properly color balanced, graded footage. “See? Everything looks good in FCP X.”