[Greg Janza]

[Oliver Peters] ” If you start the mix or color and then take it to an outside specialist, the first thing they will do is remove all of the grades and mixes that you have done and start from scratch.”

Color and sound mixing are two areas of post production that remain highly inefficient and both are in need of streamlining.

Most projects that I work on end up fully colored and sound mixed in the rough cut/fine cut stage because it seems that clients nowadays have a very hard time watching cuts that look off or sound incorrect. So even if the project has a budget to send the audio to a sound mixer and the color work to a colorist there’s a lot of wasted time both on the front end making it look and sound good but also the prep work to hand off to a sound mixer or colorist.

So I welcome the idea of keeping as much of the final mastering within the original edit program or at least to have a workflow where all of that front end work isn’t wasted time once a colorist or sound mixer gets onboard.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

Aftercodecs works but is not licensed by Apple.

The only fully licensed windows pro-res encoding program that I know of is Assimilate Scratch but the cost is prohibitive for most.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

perhaps use this app to downgrade the project:

https://joshcluderay.com/downgrade-premiere-project-converter/

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

These .mov files must be a particular codec type that Premiere can’t read natively since I don’t have quicktime loaded on my Windows system and I have no trouble with .mov files.

Do you have VLC loaded on that PC? Can you open the files in VLC and do they play?

And here’s an older thread that addresses a quicktime/PC issue that affected XDCAM and HDV quicktime files:

https://blogs.adobe.com/kevinmonahan/2012/10/03/quicktime-hdv-file-issues-in-premiere-pro-cs6-windows/

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

I’m assuming you’re working on the latest version of Premiere since prior to the most recent update all varieties of quicktime files work on the PC side.

Can you roll back to the previous version?

And Dave’s right about those K-lite plugins. Stay away from them.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

This feature has been available in Premiere for awhile and it streamlines the entire stock footage selection process so it should be a welcome addition to FCPX as well.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Steve Connor] “If I was a PPro Subscriber I’d certainly be thinking about switching”

Blackmagic continues to set the bar high and their product line is stellar. And from the looks of the improvements in Resolve they are aggressively going after the NLE market.

However, for freelancers that work regularly at a variety of companies in addition to doing projects on their own edit systems, switching NLE’s requires a shift in the overall market.

Premiere has become the default NLE in my area and therefore the workflow that I encounter is to keep all projects inside the Adobe ecosystem. With many companies now having full in-house media departments even if I work on a project solely on my own system, I’m often asked to collect the project and send it to the in-house folks so that they can potentially make use of it in the future.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Bill Davis] “Basically, hardware has all become far, far less “mission critical” for me in this era.”

I have no idea what you actually create but the idea of hardware being less important today than in the past is certainly not reflected here on this forum or on other professional video production forums. Many posts involve people asking about how to get the most out of their systems in order to maximize the efficiency within their NLE’s.

As the digital video business has grown over the years, the computing power needed to efficiently and effectively edit and create content has grown with it. We now live in a world where an average 4k project can be 1-2 terabytes in size, where Lumetri color work is a default aspect of post and where cloud asset acquisition and cloud based review of cuts requires fast upload and download speeds as well as fast render times for compressions.

I’m with Bob on this one. Being an Apple customer requires a massive amount of patience. The list of features that have been eliminated by the company over the years is long . And now it seems as though the company is marching forward towards a complete abandonment of partnerships with Nvidia and Intel.

I’ve invested too much in my computer systems to allow myself to be at the mercy of whatever the “geniuses” at Apple deem the “future of computing.”

Windows 10 Pro
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Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Leo Ratner] “1. Which canvas should I be editing on? (4k? 2k? 1920×1080? what’s the standard for festivals and broadcast?)”

Create a sequence that matches your largest delivery size.

[Leo Ratner] “2. Since I could edit with 1/4 res, is it really beneficial creating proxies?”

yes. Proxies help with overall speed and efficiency if editing on a less powerful computer like your MBP.

[Leo Ratner] “3. Will my MacBook Pro be strong enough to handle big exports? “

No. If it’s going to be a 4k film, upgrade your edit computer or use proxies if an upgrade isn’t possible.

[Leo Ratner] “4. Is there a guide to avoid big mistakes? suggest workflows?”

Use the workflow guide that’s best suited for your media format. i.e., if the film is going to be shot on Red search out the Red Premiere workflow guide from their site.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Tim Wilson] “No matter how big music, computers, and devices seems to you for Apple’s chip story, I’m tellin’ ya, this AI/AR automobile stuff is much, much bigger.”

Thanks for putting all of that on the table Tim. All fascinating and quite logical as an untapped area for major technological disruption.

The point of posting that first graph was simply to show that Apple is defined today in completely different ways from what it once was

And if those automobile patents are any indication, Apple may simply be looking at entirely new areas for expansion. And that’s desperately needed since on any given day in the Bay Area about 1 out of 3 people driving on the freeways is holding their iphone or Android in one hand and using it while their other hand is on the steering wheel and driving 80 mph towards that promised land of silicon valley.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync