[Matthew Sonnenfeld]

Yeah, it’s not perfect yet but it works. Prelude as far as I know was a ground up application for CS6 and I applaud Adobe for getting it out there. In many ways, most ways, Prelude accomplishes what a lot of people were missing from FCP7, i.e. Log and Transfer. In a lot of ways Prelude does a lot more than Log and Transfer ever did and I would expect this to grow, potentially into a full fledged asset management system in subsequent releases. It looks to me though that Adobe is really listening and in the last few releases, their software has improved by leaps and bounds, mainly responding to what the user base has been asking for, and Adobe has been doing this very aggressively. I agree that there should be a larger viewer and that some things in Prelude can be improved. I would definitely say submit this in a feature request. I will too and hopefully come CS6.5 we will see some of these improvements.

Glad this thread helped you!

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

Edgar,

Given these circumstances I would say shoot in 1080/24p as in this setting the HVX automatically adds the pulldown that you need so it will fit in 60i and you will be in the spacial resolution that you need as well with the correct motion. Don’t shoot 24pA as this is only necessary when you want to shoot in 1080 and remove the pulldown altogether to have true 23.976 footage which is not actually what you want.

I’m curious though, all of the docu/reality programs that I’ve been on for broadcast have shot in 29.97. Is there a reason why you want the 24p motion since you are not doing narrative?

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

You can change the thumbnail size to make it more like Log and Transfer. Would be nice if it had a larger viewer, I agree. But I do find this workflow to be more than useable especially considering the alternatives.

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

Jon, can you not do all of this is Prelude and skip having to do the Media Manager? It just sounds like a big circle to me when you could do the rough cut and conversion in Prelude and then send that to any disk you want and begin cutting with your rough cut from Prelude in Premiere Pro.

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

Going on what Dennis said about editing in ProRes also, could you not ingest/convert in Prelude and then you could still use the “takes” that you want without converting the entire clip?

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

Not sure what this could be but I’m curious if the same thing happens if you map the overwire/insert functions to different keys? Is the problem an issue with the overwrite/insert actions or the F9/F10 keys is what I’m trying to figure out. Again, I don’t know how to fix this but narrowing down what the problem may be is always a good thing to do. It could be a simple thing like the keys need to be remapped and then might be able to be mapped back.

Have you tried clearing your preferences? Could be a problem within there. I use Digital Rebellion’s Preference Manager as it has good support for all NLE’s. Free download;

https://www.digitalrebellion.com/prefman/download.html

This is also a good tool that may help you diagnose and solve the problem. Free trial;

https://www.digitalrebellion.com/promaintenance/

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

Hi John,

Questions posed to Grant are better asked on the Blackmagic Design Forum, specifically linked to above by Peter.

My own guess, based on nothing but following this for several months and gathering whatever information that I can, is that I can only assume that the MFT version will be no less than three moths behind the EF version. There is a huge amount of back orders on the EF version that go back a full five months before the MFT version was even announced. I do think though that BMD will do everything they can to get working cameras out before April.

The variables here are three fold in my opinion;

1) Blackmagic Design’s actual speed of manufacture and rate at which they can fill back orders as those will be done in order stretching back to April. (I have been pre-ordered on EF version since 4/29 and MFT since 9/7)

2) Any and all production problems. They really can’t afford any more and I sympathize completely with them. I believe that Grant and everyone else at BMD has been working very hard and I trust that as hard a wait as it has been for us, they have had a harder time than we are having.

3) NAB. At what point is it too late? At what point do you have to change? In this last year we don’t know what the other companies have been cooking up to compete with the BMCC but we will all know at NAB. Panasonic has not put out anything huge in a few years and Sony and Canon don’t really have competing low budget options. I discount even the FS100 and FS700 due to their comparably lower resolution to the BMCC and to beat it on the FS700 costs many thousands of dollars in hardware upgrades. So we can see some significant competition arise in April for BMD and the real question is at what point will they have missed the boat? At what point will they need to change their game to stay ahead? Companies have had a year to respond. We will soon see what their responses will be.

Case in point to my third point, the RED Scarlet was announced not just as 3K for 3K, but it was announced as a 2/3 sensor, fixed lens camera. Had it come out within the year of its announcement, all would have been fine. But the camera never came. But companies responded nonetheless. Panasonic put out the AF100, Sony put out the F3 and later the FS100. These three cameras made the announced Scarlet obsolete before it even hit the assembly line and RED was forced to change strategies and ultimately, change the Scarlet entirely. I don’t think BMD wants to have to do this and I personally don’t think it will come to this, but I do also think that NAB sets a very real timeline for camera delivery, at least for the EF. If the MFT is not shipping by NAB, I would not be surprised to see a change in spec to see it remain fresh, possibly an active mount over the passive.

Again, these are just my opinions and I have no more information than you do. I know that’s a lot more than you asked for but I hope that might give you some insight.

Cheers,
Matt

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

[Steve Eisen] “Educate the producer to shoot in the delivery format. Shoot 1080i/60!!!”

Steve, might it be possible that if this is for a TV movie or something else where it is desired to have the 24p look for cinematic motion, that the producer may be planning on outputting with pulldown? In theory could this not give the desired delivery specifications of HDCAM 1080i/59.94 but also with desired motion? Specifically I am thinking if this is being edited on an Avid system with Nitris, the universal mastering of the Nitris should be able to output this without any problems right?

Of course, whether or not this may be the case is a question for Edgar.

Edgar, do you know what the post workflow planned here is? Might it be as described above or is that something that you could find out? Furthermore, what is the type of production that you are working on? Is there a particular reason why you are being asked to shoot in 24? Is this a narrative style program or TV movie? If it is a reality/news/documentary format or anything more styled for standard broadcast distribution then I would follow Steve’s advice and try to convince the producer to let you shoot in the delivery format.

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

Peter, I believe that this post was the 7th update made on November 15th. I don’t think it’s from today.

RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary

[Matthew Sonnenfeld]

I also have been using cineform on the Mac for the last year with Premiere Pro and have had no issues with it. The performance boosts that it gives too are really excellent over H.264 acquisition codecs.

Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary