Jon Howard
Forum Replies Created
-
Haven’t had to deliver something out of CC yet, so I don’t know. It did turn out, in my case anyway, that the bug was on DG’s side of things and Adobe worked with them in resolving it.
-
Updated on my personal Macbook Pro as well as my work Mac Pro. Both work fine overall after the update in both Premiere and AE. On both machines, my NVidia CUDA preference pane popped up on startup with a notice that a CUDA drive update was required. I ran the update on my MBP, since this has been issue before for me, and had no issues. My Mac Pro, which has a Quadro 4000 card, though, gave me an installation failure warning and on restart CUDA would’t work in Premiere or AE. I had this issue before and reinstalled the 5.0.36 driver from the Nvidia archives page and all is fine now, with the exception that my CUDA preference pane is asking for a driver update again.
No idea why I did all this. 10.8.2 was working fine and it seems most of these OS updates for Mac are related to interoperability with mobile hardware and iTunes anymore.
Here’s the link to the CUDA driver archive page, as well as a thread on Creative Cow where I went through the process of figuring out how to get CUDA working again, in case anyone finds it useful:
CUDA driver archive
https://www.nvidia.com/object/mac-driver-archive.htmlCreative Cow message thread on getting CUDA to work after it fails following latest driver install:
https://forums.creativecow.net/thread/3/932576Best,
Jon -
That’s tough, Tom. Really sorry to hear that. I’m putting some positive vibes out there for you. Hopefully the next job is better than the last!
Jon
-
Sure didn’t! Thanks for sharing the knowledge Tom. This will be a huge help on the next delivery. Hope your 2013 is off to a good start!
-
Unfortunately FCP wasn’t an option. This was a finishing sequence with DPX image sequences in the timeline. FCP can’t play those back.
-
Don’t think Resolve equals Apple Color when it comes to market perception. Company 3 and The Mill LA are on Resolve, and for commercials those are probably the two biggest color shops in LA. The Linux version with big honkin panels of course, which isn’t free by a long, long stretch. Interesting discussion overall, just wanted to chime in regarding the statement about market perception.
In my experience sitting in color sessions for commercials, clients are looking at monitors, not the GUI or panels. They’re interested only in getting the color they want in the time they have booked. If the software gets them there, they’re happy, regardless what it is. Between Resolve, Scratch, Pablo, Baselight and Lustre, I’ve been in color sessions for all of them and not once has the software been asked about or become an issue, with the exception of Lustre. But that was more of a facility infrastructure issue and nothing to do specifically with the application.
The artist is by far the most important component in a color session and the editors and creatives I work with routinely seek out specific colorists for their work, and would go after those guys even if they switched software.
Interesting discussion and I don’t mean to go off topic. The comment about Resolve’s market perception stuck out at me.
-
100% agree with you Angelo. Thanks for making the feature request! Hopefully enough of us do that to push the good folks at Adobe to add this functionality.
I’d also add three things:
– Premiere should have automated relinking (ala FCP, Resolve, Speed Grade, Smoke and Hiero) by searching a directory for files matching specified criteria. Right now the manual relinking is maddening if you have to do it for a large number of files.
– Both Premiere and After Effects should be able to see image sequences as compiled sequences rather than a list of sequentially numbered files. This capability must already exist since Immigration adds this to After Effects, so it would simply (as if I know what I’m talking about) be a matter of adding “view files as sequences” (ala Nuke) option in the import and relink windows, or add a separate “import image sequence” or “relink to image sequence” option entirely. This could also be added to the media browser (which has a ton of potential vis a vis conforming).
– It would be great if Premiere had a similar import capability as Speed Grade and Resolve, where it can search a directory and its subdirectories, as specified by the user, for any media. The Media Browser already does this if it recognizes the file structure as belonging to a known camera (ala RED, Canon and Sony).
It’s oh so close as it is. I hope it’s as easy to make this happen as it seems like it should be. Thanks again for your input Angelo. Great to know I’m not the only one hoping for these features!
Jon
-
Thanks for the input Alex! The problem with GlueTools in this workflow is that it lets applications that don’t normally read image sequences, like FCP, read them by putting them in a quicktime wrapper. Premiere can read image sequences just fine without help. Also, I’m trying to stay completely away from Quicktime because of color issues (the infamous Quicktime gamma shift is a killer for broadcast delivery) and keeping things friendly for Nuke, which is significantly slower and crashier with clip-based media than it is with image-sequence based media. When Nuke reads in a quicktime file, it has to analyze the whole movie for every frame it plays back. So if you have a 30 frame shot, as a quicktime movie it would have to run analysis on all 30 frames to play back 1 frame.
Jon
-
Hey there Tero,
Yes, Resolve can do this but unfortunately it doesn’t address the feature I’m searching for, which is a way of getting a conformed DPX timeline (like what Resolve can generate from an EDL pointed to image sequences), into Premiere, linking to the same media. I don’t want to create new media in this case because of file management issues. In this workflow in particular I can’t transcode into a different codec because of color management concerns. Also, I’m doing compositing in Nuke, which is optimized for working with image sequences over movies.
Jon
-
Hey there,
Premiere can import image sequences as easily as After Effects (minus Immigration). Not only that, but it reads timecode, reel name, and any other metadata attached to the DPX files, just as well as Smoke or Hiero. The problem is that it can’t relink a clip-based file to an image sequence. Immigration can do this, but has been coded to only compare file names when replacing the clips with the image sequences. Since After Effects has access to metadata just like Premiere does, it seems possible that Immigration could be coded to add search parameters like reel name and timecode, in addition to file name, when replacing clips.
I’d love to see Adobe craft a conform feature, especially since Speed Grade already does this and is part of the Creative Suite and they’ve already built a Premiere to Speed Grade workflow (albeit one that generates new media). The solution might be in a Prelude-type app that only does conforming. I’d love that to pieces.
Also, for a quicker way of getting a comp from After Effects into Premiere than File > Export > Premiere Project, you can simply highlight all the clips in the AE comp and copy/paste them into a Premiere sequence. This way you’re not creating an additional project file to manage and saving a lot of keystrokes.
Jon