[John-michael Seng-wheeler]

[Devin Crane] ” Thunderbolt? So much more than what USB3 will ever be.”
That’s ignoring the fact that USB3.0 and Thunderbolt are built for entirely different uses.

Thunderbolt is kinda useless for single external drives. It doesn’t provide enough power, and the tech is so expensive that your options will be limited and overpriced. For connecting a RAID, that’s another story. That’s what Thunderbolt is for. For all of us who use a tapeless workflow, dumping footage from P2 or SxS or CF cards to External Harddisks, USB3 is far more suitable then any other connection. I’d love to be using bus powered 2TB HDDs for my P2 footage. Only USB3 can do that.

Sata has been in Macs since the Power Mac G5s.”

But it isn’t hot swappable, which kinda makes it useless for eSATA.

[John-michael Seng-wheeler]

Well, there you go!

I’ve been using PP since before the Media Browser was added, so I never bothered to try importing footage that way.

[John-michael Seng-wheeler]

Yeah, I’m not sure what you’d do if a client asks for ProRes, though I think that if you have FCP 7 on the same system it can do it. That of course is a non option for windows users.

however, DNxHD works just fine. You have to download the codecs from Avid: https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=372311
and then you can render DNxHD files in a quicktime wrapper.

[John-michael Seng-wheeler]

[Chris Kenny] ” its technical foundations are substantially overbuilt for that purpose.”

I haven’t anything that isn’t Apple PR about the “technical foundations” What can you tell me about them?

[John-michael Seng-wheeler]

[Chris Kenny] “This is simply false”
No, it is not as black and white as that. It is neither related to iMovie OR FCP7 code wise, but it shares a lot in the UI department with iMovie. as you said:
“There are some UI similarities. But iMovie is not based on the same rendering engine or media framework as FCP X.”

You’re right there. I was simplifying things but you latched onto that and attacked rather then answering the actual question I was trying to ask:

you said “if Apple really weren’t interested in the pro video market, FCP X wouldn’t exist. They’d have EOL’d FCP, not done a rewrite, and added some more features to iMovie to go after the prosumer market if that was the intent. The prosumer market doesn’t need many of the things already in FCP X.”

They EOL’d FCP and released a decidedly consumer oriented (in it’s current release) program in it’s place.
Tell me how that’s different then what you outlined above?

[John-michael Seng-wheeler]

[Chris Kenny] ” if Apple really weren’t interested in the pro video market, FCP X wouldn’t exist. They’d have EOL’d FCP, not done a rewrite, and added some more features to iMovie to go after the prosumer market if that was the intent.

But that’s exactly what they have done.
They EOL’d FCP, added some features to iMovie, and then gave it the FCP name because it’s got marketing power.

[John-michael Seng-wheeler]

I’m sure you will quickly find things that drive you up the wall, coming from FCP. But the same would be true if you were going the other way as well.

I chose CS5 over FCP because of the editing horsepower. You’ve no idea how fast things can be on 64bit until you try it… It was way faster then I was expecting. You should have seen the look on my face when I made a SD MPEG-2 again for the first time since upgrading.

[John-michael Seng-wheeler]

top of my head:

1) 2 second pause where I can’t do anything while it auto saves.

2) Premiere defaults to trying to play back linked AE comps without rendering, which sounds fine except when ever I do a project with green-screen interviews, I end up with dosens of linked comps that can’t play back, and I have to go through and try playing each one until Premiere decides it really can’t play them back after all, and maybe rendering would be better.

3) When importing files from File biased cameras, clips which were split up because of the 4GB file size limit are duplicated. For example, If have two P2 clips named 001YG and 0021h which are part of the same clip, Premiere will give you two clips named 001YG which contain the footage from both clips. I have to go through and delete all the duplicates or my project will be a little hard to use…

4) There’s a funny bug with merged clips, but that will be fixed soon I expect, since Merged Clips is new in 5.5

That’s all I can think of really. I don’t come across any other bugs offen enough to warrant mention.

a side note. I tried to export a title to AE… I ended up with an AE comp with a %50 transparent black solid. Smells like a bug.

[John-michael Seng-wheeler]

Chris is right, you need to unlearn Transcoding. If you work with tape, you might find yourself in need of a capture codec, but everything is native. That’s just the way it works.

I just did a test on my windows CS5.5 system.

I was able to stack three layers of 4.5K red RAW with transparency before I started dropping frames at 1/2 playback resolution (which is still about 3K) at 1/4 resolution playback (1080p) I got to 8 layers and then decided my time would be better spent writing this.

I have
3.33 GHz 6 Core i7
24GB RAM
nVidia GTX 480 (not officially supported, but one little text file rewrite and it works)

[John-michael Seng-wheeler]

[Jamie Franklin] “next you’ll tell me xFC corrupts Adobe software”

Almost!

https://forums.creativecow.net/readpost/335/6507