[Ivan Radovanovic]

That’s why I suggested to keep the P2 structure intact and create separate folders for every P2 card (P2card01>CONTENTS>….). That way you’ll get thumbs as soon as you enter “P2card01” folder (for example)

But again you can always choose P2 from drop-down menu.

[Ivan Radovanovic]

Premiere will import even orphaned mxf files, so importing is not an issue.
However you probably want your P2 card to pop-up in media browser (without going to “Video” folder). In that case you have to keep the naming structure intact. Probably good way of file management would be something like:
Project Folder
>P2Card01>CONTENTS>…
>P2Card02>CONTENTS>…
>P2Card03>CONTENTS>….
etc.
That way, when you navigate to Card folders via Media Browser, it will pop-up as P2 card.

[Ivan Radovanovic]

Yes, I just saw your post there.
Just got confirmation from a friend that the same issue is visible on Assimilate Scratch too.
I’m back to 2.2.1 for now but this is HUGE issue, especially with so many workflows / devices moving to DNxHD.
How it is possible that there are no more topics about this problem?
Does Anyone Else Have The Same Issue?

[Ivan Radovanovic]

+1

https://twitter.com/#!/disample_dcc

[Ivan Radovanovic]

Guys, there are many possible workflows with PP…. and intermediate codec is not such a big issue.
Before considering any workflow, have one thing in mind: ProRes, DNxHD, Cineform are all VISUALLY lossless codecs, not MATHEMATICALLY lossless.
Because of that:
– Native editing should be your first choice. Especially because PP deal with the image information at the 32 bit float level.
– Next best option is offline – online. For example create PhotoJPG 960×540 proxy files, edit, swap with original files when you are done.
– Intermediate. Actually in PP you can choose your intermediate codec. It can be ProRes, DNxHD, Cineform. For some tasks even AVCINTRA 100 (that you can export from Media Encoder) will do the job.
I agree that Adobe should release their own intermediate codec that will be super fast with Mercury Engine.
Of course I could go much deeper in explanation of possible workflows, but I just wanted to illustrate some options.

https://twitter.com/#!/disample_dcc

[Ivan Radovanovic]

– AMA is not buggy but you won’t get legendary Avid realtime performance (especially with h264). Probably that will change with 64bit MC6
– Transcoding to DNxHD is basically the same as transcoding to ProRes. Both codecs are visually lossless, but not mathematically lossless.
– Metafuze is not trouble, you’ll just have to use emulator or another Win/Lin machine.
– Other questions requires much, much longer explanation.
Bottom line – if you want fast transition from FCP, Premiere is the right choice.

[Ivan Radovanovic]

Let say there won’t be any offline-online workflow here, just to make things easier.
You can access XDCAM and Canon H264 files via AMA. In other words you can import them into Avid bins and work with them, but that won’t run so good (especially H264). So after import you should make selection (clips, subclips, what ever) and transcode to Avid DNxHD MFX.
For DPX you will use Avid Metafuze. Free Avid application that runs on Win & Linux (no OS X). Metafuze will convert DPX sequences to AVID MXFs and keep the metadata https://www.youtube.com/watch?v=xlsdh_d0mOI
Edit with mxf files.
Export tiff sequence for Nuke
Bring back VFX sequence into Avid
Lock your edit
From here you have some different paths to CC suite:
A) Export EDL, purchase $500 MXF option for BM Davinci Resolve and conform Avid MFX files in Resolve
B) Export EDL, “bake” export your sequence, create cut list with EDL in Resolve
C) Reconnect original media ….
Again, I’m oversimplifying explanation here but I hope you’ll get the picture how it works.

In Premiere you would import XDCAM, H264 and DPX original files and edit right away.

You can download trials for the both applications (you don’t have to purchase via App Store just to try it out 🙂 ) and test some workflows yourself.

[Ivan Radovanovic]

Hi Adam,

– No, AMA is Avid Media Access. You can read more about it here: https://www.avid.com/US/products/Avid-Media-Access
But as I said previously AMA still doesn’t work so good as native editing in Premiere
– Premiere media management is not that bad, but nothing beats Avid. People often say that Avid is database with NLE capabilities 🙂
– In Avid you still have to transcode for optimal workflow. Transcode everything, and is sometimes time consuming (honestly I don’t believe that is the right path for file based workflows, and that will probably change with 64bit MC6). Basically that works this way: You use AMA to get your native clips into bins and than transcode selection within MC. It would be best for you to download MC trial and do some tests: https://forms.avid.com/forms/mctrial
In Premiere I have tried Red, HDSLR h264, AVCHD, AVC INTRA, File sequence, everything works.
– Finishing ….. Definitely that won’t be easy as “send to Color” (although even for that one you should take care how you prepare your sequence).
First you have to check what formats your CC suite supports (Resolve for example).
Basically it comes down to this:
A) If Resolve supports your native format:
– In Premiere edit native, export EDL, import into Resolve and connect to original files
– In Avid, AMA to original files, transcode selection, edit, reconnect to original files, export EDL, conform in Resolve
B) If Resolve doesn’t support your native format:
– In Premiere edit native, render out (Uncompressed, what ever), export EDL, import baked clip into Resolve, create cut list from EDL
– In Avid, AMA to original files, transcode selection to higher quality DNxHD MXFs, export EDL, buy Avid MFX option for Resolve, conform.
* Note that everything I wrote above is a bit simplified, but that’s how it goes.
* In any case you’ll be working with 15-20 minutes reels. But I suppose that you already know that.
* If you can afford/rent Avid DS, I would always consider finishing Avid projects in DS (even with not so great CC tools).

[Ivan Radovanovic]

It is amazing how much panic I saw over last couple of days.
Learning editing techniques is a serious thing.
Learning technical details about video / film is a serious thing
Learning any new NLE is a joke.
Honestly I don’t think that any FCP editor need more than 7-10 days to learn PP (for example). For MC maybe a bit longer, but it’s not that hard.
I say download trials and learn both – you’ll be even more marketable than before.

So editors really should not panic.
Shop owners with many FCP seats can start panicking now 🙂

[Ivan Radovanovic]

Adam , I was saying the same – you can not compare AE and Nuke. AE is industry standard in motion graphics as Nuke is industry standard in VFX, so you can not define it as “mid-level” product.
Completely different tools, so we agree on that.
With 3D situation is even more complex and I don’t think you can find one movie when only one package is used. I don’t even want to start about proprietary tools behind Maya UI (for example). Anyway, this has nothing to do with this topic.
Bottom line is:
– If you want to edit native you go with Premiere (AMA is not quite there)
– If you don’t mind transcoding and you want best media management, you’ll choose Avid
– if you want multiple editors working and sharing the same project, again Avid
– if AE, PS, AI are important part of your workflow – Premiere
– for VFX (Nuke), you are always sending DPX or TIFF files (uncompressed file sequence), both can do that

Finishing / CC is a bit longer story (probably too long for this post), but you can send EDL / AAF from both applications. Question is what formats finishing/CC application supports.
At the end of a day both applications will get you there