Michael Hendrix
Forum Replies Created
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I think this is a pretty common problem with the current version of PPr, one that I think has to be fixed for them to move to that next level. Hoping for an announcement at NAB about a new version that fixes this issue.
They are so… so…. close to a top notch NLE IMHO.
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Oops, didn’t mean to put Magic Bullet. Just Plural Eyes.
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For the longest time, I have believed systems work better when all is conformed and synced and living in perfect harmony. Maybe that thought process started back in my Avid days and seeing how that system was rock solid, then they brought AMA in and things got shady.
Recently, shooting on the 5D, I always felt that I lost something in the transcode in Final Cut. That codec is already a compressed codec so the footage, in my mind, just went a notch softer.
Since my change to Premiere, my end product looks better, in my opinion, and I contribute that to the non-transcoding/non-resolution change.
So, to answer your question somewhat, are the problems you are having a game changer? Do you think the quality of your output is better and is that a trade-off you are willing to make?
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What version of Premiere? I am working in 6.0.2 and had to drop a few shots in from a Sony home cam, in MTS format, and it worked fine. I know first release had some problems with AVCHD.
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Finished four today three times as fast getting paid twice what I got paid in Premiere.
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Mario, sorry have no real suggestions. We are in the same boat of evaluating Premiere vs Avid and the render times are abit on the extreme side. I know that Magic Bullet does take longer to render so I feel some of your slow times are because of your plugins and some maybe finding the right workflow and then some maybe just Premiere takes longer.
I was told by someone to think of it as a render tax. With Final Cut, you paid the tax up front with log and transfer. With Premiere you pay the tax on the backside because their is no log and transfer. Don’t know how true but it does make sense.
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Do you have any plugins like Magic Bullet on?
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I believe Prelude was a piece of software that was designed specifically for CNN and one other media outlet. Really designed to work in a large organization where one person may ingest, then the producer may do a rough cut before the editor even touches it. Adobe decided to include that in the CS6 package.
If you are a one man band, it doesn’t do you much good. Where it can help is in the field. If you are in a situation of dumping media cards, Prelude will allow you to transfer those cards to as many locations as you want (ie, main drive and backup) AND, this is a big AND, does verify the copy. It actually does a bit level check to really ensure successful transfers.
With that, I think its a great base for Adobe to build on that fits specific workflows for transfering/logging/rough cutting footage.
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We back up to LTO-5. The drives are expensive but the media is fairly cheap. I think a terabyte backup is around $10.
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Generally, USB 2 drives are not fast enough to edit from. It also has something to do with the way it sends data, in spurts instead of a steady stream. On Macs we use Firewire 800 drives. I am not sure how a USB 3 drive would work, someone else may have experience with those drives.
Are you having problems with render being out of sync?