[Gary Huff]

[jerry wise] “i do this all the time. i just reach over to my speaker volume and turn it down.”

Helps not to gloss over the “while I listen to music” part of the OP.

[Gary Huff]

[john sharaf] “Many monitors flicker at this rate. You’ll need to monitor at 30FPS (to include the repeated 3:2 pulldown) to view properly.”

I shoot the vast majority of my content at 24p and I’ve never needed to set my computer monitor. Pulldown is not required.

[Gary Huff]

[Sam Baker] “There are points where the lighting fluctuates but this wasn’t noticeable at the time, and it is consistent in the rest of my footage.”

I don’t notice any lighting fluctuating on my monitor.

[Gary Huff]

[Mario Aranguren] “Problem solved, I got a software called MetaZ which allows to change and write tags and metadata.”

Did it also make it show the correct thumbnail under Windows? I’m curious about that.

[Gary Huff]

[Will Corcoran] ”
Premiere wants to try and be helpful and turn down and music I might be listening to running in the background when I run it.
“

I don’t experience this using Premiere under OSX. What is your machine and OS?

[Gary Huff]

Ludmilla, the FCPX viewer windows are not independently resizable from the rest of the GUI elements that surround them.

[Gary Huff]

[Warren Eig] “HD 1080 or less ProRes422. Over HD, say 2K or above ProRes422 HQ.”

ProRes scales the bitrate with the resolution, so HQ and 422 both scale up the bitrate appropriately for higher resolution sources. According to Apple: “ProRes 422 (HQ) codec offers the utmost possible quality for 4:2:2 or 4:2:0 sources (without an alpha channel)”. The choice is simply one of bitrate vs perceived quality. Can you tell the difference looking at 422 and 422 (HQ) side-by-side? Is having the most visually lossless option worth a larger filesize? That’s how you determine.

Personally, I stick with HQ as I source my footage in 4:2:2 and 10-bit.

[Gary Huff]

[Jeffrey Carter] “I know the C100 (Mark I) does not record true 24p (23.976) but interprets the file. In the past, when I selected 24p, either Premiere or FCPX would recognize the file as 24p (23.976) and everything would be fine. Now, even thought the camera is set as 24p, PP and FCPX say the file is 29.97. “

The C100 does record true 24p (23.976). Are you setting the C100 to record 24p or 24PF? If you record 24PF you have to enable 3:2 pulldown to make it true 24p. You should never ever ever record 24PF.

[Gary Huff]

[Eric Pas] “Is there a huge upgrade from CS6 to CC? Should I just stick with CS6 and not update my Mac for a while? Is rendering going to be a lot faster with CC?”

The current version of Premiere CC 2015 is amazingly better than CS6 is. I cannot even imagine still trying to edit under that version (I would actually have to transcode my XF AVC to ProRes or something else in order to get it to work, and cannot farm any projects out to editors not on Premiere CC 2015).

[Gary Huff]

Ah, I had my wires crossed with the Zenmuse X3 because the X5 doesn’t have a lens built-in. It’s a m4/3 camera and the typical X5 kit comes with a Lumix 15mm f/1.7.