Jason Jones
Forum Replies Created
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Very helpful – thanks a bunch, Joakim!
So that’s an additional test I need to make: a comparison betwen the internal H.264 codec and the external ProRes, shooting a scene where EVERYTHING in the frame changes radically. Nice.
Cheers!
J
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Really nice one – thanks for taking the time!!
J
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I get it. I think I’ll go back to this workflow after this piece is out the door, and we’ll all keep our fingers crossed for CS6.5…?
Thanks for all the help!
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My only issue with this workflow, which I tried initially after moving to PO, is that you’re making trim and content decisions based on only what you can view in the Ingest thumbnail, right? Log and Transfer at least had that decently sized viewer to determine in/out points, etc.
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So it appears that, at least for the current project, which is already at rough cut, I need to stay with my current, somewhat wonky workflow. So … to address the AME issues I’m having, why DOES the Present always default to one I never use, even though I always change it duly and expect the next clip coming in to have the new preset assigned to it?
And then also, why does the Output file destination always default to one I used maybe six months ago, and when I reset that it never appears for the following clip in?
These are truly maddening aspects of the workflow, and seem to be a glitch in at least MY AME install. Any ideas on a fix?
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Hey Kris –
If I was going to use Resolve’s scene detection, why wouldn’t I just run the entire timeline through AME to transcode to ProRes, then feed the resulting single clip into Resolve? I’m not sure I’m clear about the advantage of using the outboard recorder …
Thanks!
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You know, Dennis, it’s such a great application, I think I am surprised when it’s not perfect, to be honest. I own the Avid, I own FCX, and of course, I come from FCP. Premiere Pro is so intelligently designed and built that when it has these foibles, like no equivalent for Log and Transfer, or the efficacy of Compressor, it’s disappointing.
CS6, particularly, is as close to meeting our needs as anything out there. Thanks.
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The problem with this workflow for people like me is that one of the undeniable advantages of tapeless or filmless capture is no longer being restricted to “takes.” I find it desirable for a long list of reasons to just let the cameras roll, creating subclips after-the-fact that become “takes.”
However, with your suggested workflow, we’re talking about transcoding hours of material so I can get to my sixty-second spot’s worth of footage!
I’m good with the idea of cutting in ProRes – would prefer it for a variety of reasons, in fact. But unless there is a way to trim footage in advance of transcoding, it’s a no-go for us.
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Walter “Mr. Post” Biscardi! Thanks for taking the time. Of your suggestions, the absolute most effective was the single monitor thing. I already had Program resolution down to 1/4, so nowhere to go there, but losing that second display seems to have helped. Thanks!
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Absolutely fixed! Thank you guys so much for taking care of this. And the “Individual Source Clips/Single Clip” button change is really useful as well.
Thanks again.
J