[Robert Withers]

I used Open CL on my 2012 Macbook Pro with an Intel GPU for months after Pr CC 7.2.2 was released with no problems because I didn’t realize the CUDA card that is also in this machine card needed a driver 🙂
Now using the CUDA but don’t sense any significant increase in speed.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Thanks, Shane. It’s interesting that AVCHD is a codec or package but not a standard. Will try the Clipwrap.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I switched to Premiere instead of FCPX because I didn’t feel comfortable with the idea of editing without tracks.
Here’s the first clear explanation of the difference between track-based NLEs and FCPX that I’ve ever seen, from a linkedin group:

Bill Davis

Video Producer, FCP-X Expert Trainer and Consultant, Voice Talent

As to tracks, after a while an X editor simply starts to think not in “lanes” but instead in the “connectedness” of their asset groupings. Once you group things, video, audio, titles or graphics, the grouping stays together magnetically and can be moved as a unit. It’s similar to how we build everything else these days. Homes to cars to computers aren’t built piece by piece, but rather assembled out of modules. It’s more efficient. Particularly if, say, your title sequence has a similar shape from project to project. You can build it once – make it into a compound clip in X – then drop and customize the same module into a dozen or a hundred subsequent shows.

X is a two part construction – a keyword driven range-based digital asset manager – bolted onto a magnetic storyline editor. The issue for outsiders coming at it is that they likely only have experience with traditional non magnetic timelines so they try to understand it in the context of their prior experience – and it just seems foreign. Editors who pick it up fastest are almost always those who can release their prior conditioning. An editor who can’t will do better with the comfort of a Premier. If you can, and learn X thoroughly, well, I’ll just say I’m honestly about 30 to 50% more productive editing in X then I was after 10 plus years cutting in FCP Legacy. And it’s a whole lot more fun. YMMV.

Robert Withers

Pharma-Medical Copywriting and Media

Thanks, Bill. That’s the first conceptual explanation of FCP X I’ve ever seen. Very interesting, the idea of construction of groupings “in space” vs construction in linear time. This is reflected in some kinds of late 20th visual music scores as selectable cluster arrangements on the 2D page vs cluster arrangements in a linear timeline, like traditional scores. .

Bill Davis

Video Producer, FCP-X Expert Trainer and Consultant, Voice Talent

I know. The magnetic timeline threw a lot of editors off balance. They approached it like magnetism applied to traditional timeline and fought it tooth and nail. They never understood that it works as part of an entire system. Alone, it’s just interesting. But combined with range based key wording, pre editing in the event browser, and magnetic vertical clip connections for grouping, it honestly can supercharge editing construction if used properly.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I’ve tried the Red Giant Frames Plus plugin and it seems to work–gives you a few options. Then the Red Giant Instant HD to uprez. Seemed to work. Lots of processing though, and glitches exporting through AME. I’ve found I needed to apply these effects to segments of a 30 minute timeline, not to the whole.
I’ve heard some people use AE for deinterlace.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Thanks for this explanation, Nick. I wonder if this feature has anything to do with the way that a Powerpoint presentation saved as a .mov file and imported into Pr doesn’t match the run time of the original presentation and doesn’t sync with a recorded audio track. (It’s way shorter.) But then why would Microsoft PPT save a presentation as a Quicktime file instead of an .avi? That’s what it does on my Mac.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Thanks everybody. Importing directly from the card to a Mac drive worked fine, much faster than the Sony software, and PP handles the footage easily. I shot this for a friend who works with FCP7, so more will be revealed. There is a firmware update (new codec XAVC-S), which also enables 30p and 120p. Have heard about difficulties importing it.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I haven’t used red sources or fcp x or an apple xml converter, but I had issues bringing an xml from fcp 7 into premiere cc. A 30 minute edit was just garbled at a certain point in the timeline–repeated shots, shots blocked with bars across them. My workaround was to make a separate xml of the second part of the fcp edit, which imported perfectly, and reconnect them in premiere. No idea why pr couldn’t import the full sequence, but pr doesn’t always behave the way it’s supposed to.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

The Red Giant plugins I’m trying appear as a deinterlace effect and an uprez effect in the effects control panel of Pr. Then you apply them to clips in the timeline as effects. Then a whole lot of rendering goes on.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

On my mac, Pr will link to an Auditions version that is already open on the computer. If no Audition is open, Pr links to the latest. If an earlier version is open, it links to that. Might have something to do with whether Premiere and Audition versions are in the same folder or not. Might help to somehow sequester the old Au version so it’s not available — put it on a different drive, for example.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Thanks Jeff. The situation is that I’m deep into a fine cut based on many hours of work from a couple hours of media so it seems not really feasible to go back and deinterlace and uprez each clip again and recut the movie. I will just have to keep going and see what happens to the titles with the uprez. If I have to retype titles I will. It occurs to me though, since the titles are mostly on a separate video track, maybe I’ll try uprezing the picture track only and then re-adding the title clips separately to the HD timeline.

Thanks for your thoughts on this.

Robert Withers

Independent/personal/avant-garde cinema, New York City