[Gary Huff]

I should also add that you could purchase a cheap Windows laptop, install Lightworks, and make it about $500 total instead of $1300. It’s not like FCPX magically improves the quality of your footage or anything.

[Gary Huff]

With a $600 DSLR, a $1000 computer and now $299 piece of software you can make a TV show or a movie.

While technically you can, is it going to be anything that anyone would want to watch? There are so many “cheap” pieces of media out there that fail on every single count, that this seems somewhat disingenuous, especially for someone who works in broadcast. Takes a lot more than that to produce a show that even looks like the quality you would see on NBC, let alone actually get broadcast outside of news.

Sorry, I know a bit off topic, but this irks me.

[Gary Huff]

[Mark Dobson] “A lot of people were absolutely convinced that there was going to be a brand new Mac Pro back in June, some even said it was a done deal, but yes it was just speculation!”

Haven’t you picked up on the fact that no one learns anything? 😉

[Gary Huff]

[Ben Edwards] “OK, had a quick look at 5DtoRGB and cant work out how it is different to mPEG Streamclip apart from its rather dubious claim to ‘extracts every last drop of video quality from cameras’. How is it better than MPEG Streamclip, I assume it has the same parelel processing option (On my box doing 4 at once speeds whole thing up.”

From what I can gather it corrects the luminance range shift bug that exists in Quicktime, fixing the gamma issues.

[Gary Huff]

[Ben Edwards] “Probably not useful for you but I gave up on Mac and switched to Windows (on same box) and everything worked (after installing latest Nvida drivers and windows service pack 1).”

I have a Windows desktop (sadly only Core 2 Quad at the moment though). And it generally works smoother, but I have a project on it that is a mixture of DVCPRO HD and hacked GH2 footage and I get weird playback lags with that (one sequence plays back a frame every 10 seconds for some reason, even though I haven’t had any issues with the rest of the sequences that feature that same footage mix). My desktop has an internal workdrive featuring a single Western Digital Black 1.5TB (7,200 RPM 64MB Cache) and I’ve considered moving that to a striped RAID with either a second identical drive or going hog wild and getting two Velociraptor drives, but I’d hate to do that and see no benefit.

[Ben Edwards] “I was also told by Adobe that DNxHD is a 32 codec, the Abode guy said he likes XDCAM.”

Yes, that’s interesting too, and not a terribly bad idea, but I prefer the way 5DtoRGB processes the footage and my only options out of that are DNxHD/ProRes. I guess if you wanted to go to XDCam for editing, that would require running everything through Media Encoder first.

[Gary Huff]

[Ashley Craddock] “mine does not remember it keeps resetting to avi.”

Yes, and it seems to reset more than it did in the previous version (I believe it would reset with each new project file in CS5-5.5 and now it resets with every new sequence). From what I can tell, there’s no way to set a default, and I hope Adobe switches back to the previous way of only resetting for new projects (at the very least).

I do think the ability to select a default export option would be ideal though.

[Gary Huff]

Hello Samantha, it definitely sounds like you were thorough in your workaround attempts.

How long have you let the export sit at 4% before restarting?

What version of Premiere are you using?

Have you tried creating a brand new project file for just this one export?

[Gary Huff]

You might want to go ahead and post part 2 as well, because both might be tied into the same issue.

That said, I’ve never experienced Premiere or Audition moving files around where I didn’t expect.

[Gary Huff]

That’s an interesting question, Ben. I too have been looking to improve my Premiere CS6 editing experience. I can make Premiere CS6 (OSX version) unusable by adding a CPU-intensive filter (i.e. Colorista II), and while I understand that I can’t expect real-time playback with certain filters, nothing else on the timeline will play without lagging heavily, and the interface (i.e. moving elements on the timeline, selecting media, ect.) also begins to lag. Turning off the effect or removing it altogether does not make the situation any better. The only solution is to close and re-open Premiere, at which time performance is back like I expected (this is Lion 10.7.4 with MacBook Pro 17″ Early 2011 model, 16GB of RAM, 512 Crucial M4 SSD, and a striped G-RAID Mini through eSATA).

I’m wondering if it has to do with AVCHD/H.264 files as that’s what I primarily edit, and I know there are still some issues with working with those files natively. That also goes double for me I think because I shoot a lot on a hacked GH2, which produces AVCHD files that are not to spec (i.e. 75Mbps+ bit rates). However, I’m getting these issues with normal AVCHD files as well as H.264 video from a Canon DSLR.

I have done lots of transcoding via 5DtoRGB for a past client where I had to use FCP7, and I’m wondering if that’s a good idea to go back to for now as Adobe continues to improve AVCHD/H264 handling (and hardware continues to get faster).

[Gary Huff]

[Oliver Peters] “You’re probably right. I haven’t a lot of specific testing, but PProCS6 definitely performs better with plug-ins and has faster renders than X on the same machine.”

Too late. Jerry Hofmann has already proclaimed X to be the fastest NLE in the entire woild!