[Mike Molenda]

I edit ProRes in Premiere all the time, since up to this point I have still been doing my grading in Color. If you have the ProRes codecs installed on your machine (which you should, given that you’re running FCP7), Premiere will edit them.

Premiere will also handle DNxHD in a Quicktime wrapper. You can get the codec from Avid as a free download: https://avid.force.com/pkb/articles/en_US/Compatibility/en350875 or by installing a trial version of Media Composer.

I’ve found that using an intermediate codec like ProRes is less of a hog on your system resources than many native codecs, therefore it will give you snappier real time playback. Especially once you start mixing camera formats and adding effects.

And to correct Alex: Traditionally Avid relied entirely on its own internal media management. Now you have the option of using the Avid Media Access (AMA) feature to directly link media on your disk to your bins, with or without transcoding, just like FCP and PPro and all the rest. From what I’ve seen, AMA works pretty well, but I’ve got limited experience with MC so I can’t really speak too definitively on the subject.

[Mike Molenda]

Lots of big “FINALLY”s – Timeline trimming, Warp Stabilizer in Premiere, Extruded text in AE (how long have people been asking for THAT one?), OpenCL support.

And does anyone else suddenly have the urge to dig out their old Hot Wheels?

[Mike Molenda]

Technically, PluralEyes DOES work with CS5 and 5.5, but you have to use the XML workaround.

But should you really have to deal with two separate XMLs just to sync up a couple shots? It is kind of a letdown after working with the seamless roundtripping between PE and FCP.

And out of curiosity, how much is PrPro writing to your drive? In my experience, excluding renders, the files used to conform are usually only around 0.1% of the size of the total amount of footage I bring into the project.

[Mike Molenda]

PluralEyes generally does a decent job, but it’s far from fool-proof. I’ve infrequently had issues with it syncing even clips where a clapper was used. (Fortunately that was easy to fix the “old-fashioned” way)

How is the first file not synced? Is it off by a few seconds or frames, or is the audio clip completely not matched up with the video clip? If it’s the latter, PluralEyes couldn’t successfully find any sync points. Did the other eight clips sync up fine?

If you’re roughly lining up the audio and video beforehand, it may be worth checking the “Clips are Chronological” option as well.

PluralEyes for Premiere was built for CS4 and earlier, and hasn’t been updated to work seamlessly with CS5 or 5.5. Which is why you have to work off an XML instead of the project file. If you’re just syncing second-system audio to video, and not syncing multiple camera angles, you could also consider DualEyes, which is NLE-agnostic.

30-day demos of DualEyes are available for free. And don’t quote me on this, but I believe Singular Software will exchange any of their products for any of their other products of equal or lesser value for free if you do it within a few months of your initial purchase.

[Mike Molenda]

Before you go nuts and reinstall everything, remember you can always try clearing your plugin cache by holding down shift when you start Premiere.

Or you can try trashing your preferences (hold option+shift when starting the application). I know a lot of people swear by that as a “cure-all.” But personally, I’ve never had to do this to solve a problem in either FCP or PPro.

[Mike Molenda]

Sounds a lot like a (supposedly) low-rent FCP7 project I once “inherited.” 1280×720, 23.98, H.264 Quicktime clips with the main sequence set to 720×480, 29.97 NTSC DV. Lots of nested sequences, too, all with the same incorrect settings.

To quote Admiral Ackbar, “It’s a trap!”

[Mike Molenda]

This might sound silly, but do you have the effect toggled off (the little “fx” icon next to the effect name is not showing)?

I’ve noticed that the eyedroppers on effects that have them will appear to respond (erratically) as you hover over your image, but then as soon as you click nothing will happen, of course, because the effect is disabled.

Fast color corrector is working just fine for me in CS5 on a Radeon 5770.

[Mike Molenda]

I have to say I was pretty impressed that David McGavran (John Adobe himself) took the time to log on to try to reproduce a problem I had while screwing around with outdated third-party software.

I’m expecting something huge from Adobe at NAB. It’s like being a kid on Christmas. I don’t think I’ve been this excited about something so nerdy since… well, since the weeks leading up to the release of FCPX…

Here’s hoping the bubble doesn’t burst the same way it did last June.

[Mike Molenda]

I was using the free version (not the full version trial) downloaded from Rarevision’s website (1.5.3b). Good to know they seem to have addressed the issue.

I was actually using 5DtoRGB to run some tests on my footage, comparing it to the source h.264 Quicktime and ProRes Quicktime generated by AME and the FCP E1 plugin. For what it’s worth, I didn’t think the negligible uptick in quality from 5DtoRGB justified the significantly longer transcode time. At least not for the work I do.

Still, it would be nice to have a reliable way in the Suite to generate TC (or at least add reel names) to footage like that shot by the Canon DSLRs. I’m sure you’re not at liberty to say anything, but maybe this is what Prelude is for?

[Mike Molenda]

[David McGavran] “I will grab a copy of 5DtoRGB and see what it is up to

Cheers

Dave”

Awesome, thanks.

If it makes any difference, this is not only happening with Canon EOS Quicktimes. For kicks, I created a 23.976 h.264 Quicktime from some XDCAM footage in AME. Then I re-transcoded in 5DtoRGB, generating a starting TC 01:00:00:00. Came into PP with first frame reading 00:59:56:09.

Tried transcoding that first h.264 file to ProRes 422 with both AME and Compressor, no TC issues.