[Jason J rodriguez]

The internal engine is completely 32-bit float. I don’t think all the effects are deep-pixel supporting, but at least any 3rd-party vendor can take advantage of deep-pixel support.

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

Dang, that is too bad . . . I was really looking forward to such a feature from my experiences with Avid.

Oh well . . . maybe a future release.

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

Are there any plans for XenaLH series support in Premiere Pro 2.0?

Can the XenaHS also deal with Cineon, DPX, Quicktime, etc.?

These features that you list look like they could be very useful to users of the Production Studio as well.

Thanks,

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

Yes, I’m wondering about that too . . . having to go with the older HS card only is going to-be a bit of a bummer in light of all the new advancements that the LH series adds, especially with analog input/output.

Thanks,

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

The Cineform guys have announced coming support for the HVX-200 . . . no timetable, but supposedly it’s coming.

Thanks,

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

[Pierre Jasmin] “However the 32 bit float thing as far as I understand (I can be wrong) in this version might fall more on the marketing schmok thing to feature match FCP marketing schmok as it does not mean much if the precision is not retained.”

Right . . . FCP is 32-bit for YUV *only*, so that basically means you import a 16-bit RGB file, or have a YUV file and perform a RGB filter on it (like an After Effects filter), and your footage gets dumbed down to 8-bit RGB internal processing, which is completely useless for all intents and purposes . . . so you’re saying with the new Premiere Pro 2.0, that a 16-bit RGB file, or a 10-bit 4:4:4 RGB file all can be processed at 32-bit float? 32-bit Float is NOT just for YUV footage and effects??

Thanks,

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

I personally would like to see timeline decomposition (make all clips in a timeline new independant clips placed in a given bin, but still have the ability to match-frame to the source media), and also the abilty to import media from one sequence into another project (not have to import all the media in a given project).

Also a neat feature would be the ability to un-nest a sequence-so instead of seeing the nested sequence as one big clip on the timeline, the nested sequence would be gone and you’d see all the clips/layers/etc. of that nested sequence right on the timeline. FCP has this ability if you option-drag one timeline into another timeline.

Finally I wish there was a way to do a “replace-clip” like After Effects when you option-drag a piece of media onto a layer-the new media takes on all the attributes of the layer including in/out points, filters, etc. It would be a very nice way to quickly swap clips out.

Thank,

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

The Canon frame-mode and it seems like the HVX-200 from Panasonic will be supported by Cineform.

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

I think what he means is will the EDL properly find clips that are in a sequence embedded in the current sequence (nested sequences)?

Thanks,

Jason Rodriguez
Virginia Beach, VA

[Jason J rodriguez]

[Scott Brown] Interestingly, I note that Ikegami and Grass Valley have integrated the AVID codec into two of their latest HD cameras.

Actually, It’s only Ikegami who’s using the DNxHD in a camera. Grass Valley is just using a JPEG2K codec in a MXF wrapper for their Infinity HD camera (which is what I’m assuming you’re talking about). Two very different codecs.

Jason Rodriguez
Virginia Beach, VA