Jonathan Dortch
Forum Replies Created
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it was definitely a GPU issue. Things improved with CS6 and we rarely got the error. Work around was always switching to software rendering.
After replacing the GTX285 with a 680, haven’t gotten the compiling error at all. I’m curious to try the wave warp thing!
JONATHAN DORTCH
SLY SPECTRUM -
I haven’t used it too much but I did fire it up to record a VO a few months ago. Worked very well, and simple to use. From what I remember I just hit “Record”. It was like a simpler version of ProTools.
After making the jump to Premiere after using FCP since version 2, That’s the biggest thing I’ve learned about the Adobe family of products compared to FCP world — things work much better bouncing between the suite with Dynamic Link manager instead of trying to force the editing program to do the sound recording (Audition), titling (Photoshop), or animation (After Effects). Working with them all in tandem is the way to roll, and it’s actually a very powerful solution once you get your head around the workflow.
I haven’t tried to record a VO in Premiere yet, but maybe someone who has more experience with the software can jump in on this. I’m only a few months in with it.
JONATHAN DORTCH
SLY SPECTRUM -
Have you tried using Adobe Audition? That’s probably the better workflow in the Adobe world instead of trying to do it in Premiere.
JONATHAN DORTCH
SLY SPECTRUM -
Hey Chris,
Apple decided with Lion that the User Library folder should be hidden by default. It’s infuriating at moments like this. You can solve the issue with some Terminal scripting, but the easiest way to consistently access the User Library folder is to hold Option and click “Go” in the menu bar. The hidden library folder will appear.
https://osxdaily.com/2011/07/22/access-user-library-folder-in-os-x-lion/
Hope this helps!
JONATHAN DORTCH
BLACK WOLF CREATIVE -
Thanks for chipping in Tom. That was one of the first things I tried. Also tried creating a new project with a new scratch disk and importing old sequence into that. Still no difference.
Was FINALLY able to resolve the render issue by reverting the Mercury Engine to software only. So weird that this popped up out of nowhere. Was working fine last week. No playback issues, or issues rendering video. Just will NOT render or export a still image, especially while panning/zooming.
Could be a problem with the GTX 285 in this machine, but not seeing any other telling signs of graphic card trouble….
Curious to see if anyone else had this issue. Also as a note, still on CS 5.5.1, have not updated to 5.5.2. But again, was working fine for months, but never on a project of this length with this many photos.
JONATHAN DORTCH
BLACK WOLF CREATIVE -
I’ve tried all of that. No dice.
Actually right now I am 90% sure I’ve narrowed it down to the Mercury Playback engine. After disabling the hardware rendering from the NVidia everything seems to be rendering just fine. Still testing.
JONATHAN DORTCH
BLACK WOLF CREATIVE -
Since After Effects and Photoshop/Illustrator are so prevalent in our workflow, Premiere Pro was our first target when evaluating switching. It’s basically a lost sibling of FCP. Almost the exact same workflow, feel, and tool set. Avid is a different beast all together and not as well suited to our needs as a smaller shop.
So far so good on Premiere. Software is not perfect but if you can drive FCP you can drive PrP. Adobe seems very interested in improving the platform even further and so far has had great communication. It’s an awesome feeling to post a question on the Premiere forum here and get a reply from Todd, the Adobe rep. After 10 years of having Apple as a silent partner, real service and support is a wonderful breath of fresh air.
JONATHAN DORTCH
BLACK WOLF CREATIVE -
[Chris Harlan] “Hey Tom, I’ve got production suite 5. What are the reasons for going 5.5? Or can I comfortably wait to 6?
“For Premiere I’ve found 5.5 to be a significant upgrade from 5.0. Upgraded Keyboard customization, key framing in the timeline, more FCP7 like tool updates, Smooth cam, Far superior Dynamic Link manager integration.
If you are jumping in with Premiere I do think 5.5 is worth the upgrade.
JONATHAN DORTCH
BLACK WOLF CREATIVE -
[Andrew Richards] “The drawback is in how it has evolved to be used. The tracked timeline was conceived as a visual metaphor for compositing. That’s it. It had no other design intent. Video over other video was “on top” and if made translucent or cropped or whatever it revealed what was underneath. Audio tracks are analogous to tracks on a mixer and there is not a top-down hierarchy to them. Overlapping clips mix together on output or they can be “patched” to outputs.”
I’m totally clear on all of that 🙂 But how does the “Magnetic Timeline” convention change this? The visual mechanisms remain unchanged. There is still a top down hierarchy, only without track representation to provide a further order of organization/classification. Maybe I’m just missing something on this, but how does the Magnetic Timeline change anything about the visual representation of the edit besides adding “connections” with a more robust nesting capability, while removing tracks that we all used to help classify elements and easily manipulate them on a broad scale.
Without a “track,” what is the process for reliably locking or preserving elements into their vertical hierarchy? I mean, as an simple example, how would one take a 4 sec bug graphic and reliably extend across the entire edit in X? Extend it in a compound clip and place as high as possible in the Magnetic Timeline connected to the first clip? Aren’t height properties loose and have the potential fluctuate depending on how broadly you’re manipulating vertical elements further down the edit?
In classic FCP I can throw that bug on top, duplicate to end of edit, lock it, and be on my merry way in about 5 seconds.
In that same vein, is there ANY mechanism for “locking” visual elements in FCPX?
[Andrew Richards] ” But what if you needed to composite between to lower thirds?”
I’m not sure what you mean, but I think if I needed to composite between a shot and a lower third I would just raise the lower third to a higher track I usually put them pretty high up for this reason, and compress unused tracks if necessary. Same thing would happen here if you put a text layer above your storyline, correct? Would need to raise the text connection above the video?
JONATHAN DORTCH
BLACK WOLF CREATIVE -
The fundamentals of the magnetic timeline seem pretty simple. Connection based clip arrangement. This could feasibly be a circle with a spiraling playhead and connections stemming out. It’s just not because the horizontal timeline makes sense. That’s the problem. The timeline in FCPX “looks” the same it just doesn’t function the same. Could this same connection feature could be achieved with track based editing, with independent video/audio parameters?
What is the benefit of being able to arrange video clips beneath the primary Storyline? The playhead still feeds from the Storyline above. How does one benefit from being able to place audio inside or above the primary storyline? Why do secondary Storylines lose all ability to composite, but secondary Storylines are required for transitions? To me this just comes across as confusing and sloppy. It feels like an incomplete thought, different for the sake of being different, not a superior function.
A track based system allows broad locking, classification, and on/off ability of elements. I can lock a music track for music video editing. I can easily and universally turn on/off bugs or graphic elements. I can easily and universally classify audio elements in an edit. If the audio solution in a trackless system is tagging each individual audio effect — talk about a time waster.
I’m curious to what a feature or documentary film “Magnetic Timeline” would look like. Would it be thousands of elements slopped around with no care or consideration for visual representation or placement?
What exactly is the drawback to a track system? It’s worked pretty damn well for the last 20 years. Why not keep the track convention AND add the keyword metadata in lieu of labels? Everything I love about FCPX can be adapted into the conventional, proven NLE track system.
I’m all for any system that speeds up my daily workflow, but this whole timeline in FCPX comes across as a gimmick, breaking the very functional, simple concept of track based editing.
JONATHAN DORTCH
BLACK WOLF CREATIVE