[Greg Janza]

I’m not on an imac Pro but for reference, I’ve just finished a project and so the video is now populated to a variety of places.

On my system (windows) which is fully color calibrated using x-rite x1-pro and Dispcal, all versions of my master look identical in every location that I look at them. Those locations are: within potplayer (which is another video playback app similar to quick time), on frame.io and Vimeo in Firefox and Chrome.

Previously I had an issue where the colors were washed out when looking at any sites on Chrome but changing the color settings in Chrome to sRGB has eliminated that problem.

I doubt that Premiere Pro is the source of your color issue. Have you checked that your color management settings are correct in your browsers? And if you play back a video in vlc or switch do you see the same issue as you see in quick time?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Michael Gissing] “Keep all but Linux off the internet except for brief updates or licensing software when it suits me. “

Michael your advice overall seems very logical but I have to ask how folks out there that do keep their edit systems off the internet maintain an efficient workflow.

I’ve been tethered to the internet with my edit systems for as long as the internet has existed. It’s never caused a problem for me but I know that there are risks. However, pretty much everything I do involves getting media from the internet to add to my project – music, sound effects, stock shots, stills, logos, etc., etc.

Anything other than having an internet connected edit system seems inefficient.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

It’s unlikely that it’s an Adobe bug and much more likely that your systems have incompatibility issues.

There’s many ways to go about troubleshooting but I’d suggest the following:

Use a program like Driver Booster to determine if you are updated with all of your drivers.

Does the problem persist if you render your audio? Does the problem persist if you round trip your audio to Audition and then re-import it back into premiere?

Where are you saving audio previews to?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I have a pair of Dell U2410 monitors that have been set up using x-rite x1 pro and Dispcal.

The Chrome issue is consistent overall for me and therefore I would lean toward it’s being the source of the problems.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bill Davis] “I LOVE Editing in FCP X. Truly enjoy it day to day!”

The only way to put logic to the gibberish you endlessly write here is to assume that you say things just to agitate others. And by all means you have the right to do so. I’m not sure what purpose it serves though.

And one of the unfortunate consequences of your endless blind cheer leading for Apple is that it makes your opinion on real NLE issues less valid.

Hell, even Apple lives in the real world in that many of their own videos are being created by agencies that use Adobe and not FCPX.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

render to see if you like it. If not, make tweaks and then re-render. repeat as necessary.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

If you load the multi cam sequence into your source window you can simply input a time code into the time code display in the bottom left corner. But if you have multiple angles with different time codes, then you can hit match frame to get the individual angle loaded into your source window and then again enter a specific time code.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bob Zelin] “In the same way that there is a small handful of hi end recording studios, a handful of hi end photographers, a handful of print shops, these businesses, which were abundant at one time, are now over for the mass market of people that made their living with this stuff. And “we” are next.”

You may be correct with this prediction but there’s one differentiating factor that I believe will help keep us “professionals” in business for at least a little while longer. While it’s true that a monkey can basically put together a video these days, it takes a real “professional” to make that video watchable. And it takes a truly talented “professional” to create a video that not only has a strong hook but also is made in a way that holds the viewers interest throughout.

That’s my hope at least.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bryce Douglass] ” I have would rather not transcode my 28mbps AVHCD footage to a format that’s 10 bit or higher as my camera doesn’t support 10 bit and it would just be a waste of space.”

If you’re concerned about space you’re not set up properly to edit. With storage costs being ridiculously low there’s simply no reason not to have plenty of storage and therefore the size of clips should be a non-issue.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I did a test on my system. My monitors are calibrated using the x-rite x1 profiler.

I have a perfect match with the file in Premiere when playing back in Firefox and using Vimeo or Frame.io.

I get a slightly washed out look in Chrome in both Vimeo and Frame.io.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles