[Rob Viscardis]

Yes, totally important for that to be said. I created the raid for performance, and all my redundancies are in place with externals, so I’m not worried about that. I simply misunderstood that a Raid-0 uses the full amount of space. I thought I would be sacrificing the space for the performance, based on how I’d seen a Raid-0 described, but as it turns out, I get both. So it turns out there’s no funny business, and I’m happy.

For anyone that’s interested, I’m getting speeds of 550MB/s on the raid.

Thanks guys!

[Rob Viscardis]

Awesome. Here I was expecting much less storage on the RAID, so I’m pretty happy about that.

Thanks

[Rob Viscardis]

I think you have to make the lines short enough yourself in the text entry so that they fit on the screen. So, after “figure it out yet,” press enter and begin your next line underneath.

[Rob Viscardis]

Done and done.

Here is one of the DNG files from the clip above for you: 8998_rvpc1201505041647c0013000556.dng.zip

Thank you!

[Rob Viscardis]

Whoa! Interesting. Those controls did not appear for me in the Effects Window on the master clip tab UNTIL I started a new project and imported that clip again. I think it may be because I was working in a project that was converted from the previous version of Premiere. So thank you for pointing that out!

Unfortunately, with the limited controls that it provides in the source, I’m still unable to get those highlights back while keeping the rest of the image in a usable range, so therefore I will still be going the AE route. Here is me trying to get those highlights back with source settings:

Still blown out and rest of image is getting very dark…

And here is the image after some exposure, shadow, and highlights adjustments in ACR in after effects:

So I guess I will have to hope that Premiere updates the CinemaDNG source setting options to match that of ACR someday

[Rob Viscardis]

Hi Paul,
Thanks for the response, but I think you’ve missed the point, that that was exactly what I was doing. For some reason however, the DNG file is interpreted incorrectly by Premiere, not allowing me highlight recovery, and casting a pink hue over the entire clip- as you can see from the screenshots I attached. I solved this problem by direct linking the clip to after effects, where the colour profile is properly interpreted by ACR.

This is only really an issue with shots of high contrast, like shots into the sun, because the highlights can’t be recovered. But otherwise it is workable.

Surely others have noticed that these RAW clips look different in Premiere when you import them than they do in After Effects or Photoshops ACR, or Resolve.

I have made a bug report…

[Rob Viscardis]

Sounds like what you need to do is select all your clips, right-click, and ‘make offline’. Then re-link, and point to your new transcoded files.

[Rob Viscardis]

I have two very different systems and these issues have been happening on both of them. One is a Mac mini 2.6 GHz Intel i7 with 16GB ram, Intel HD 4000 graphics. I’ve been having a ton of trouble with crashing while working on a feature documentary project lately, that I’ve been working on for a long time. MANY different types of footage. Working from a G-RAID drive through USB3. Made the mistake of updating in the middle of the project, because I wanted some features.
Have problems in other, smaller projects with many different types of media as well though, but just sporadically. Both computers. My other one is a 2009 mac pro. The problems have been very random and therefore hard to keep track of. Flickering problems were with playback as well as export, and were when using effects, but I tried many different methods of work arounds, only solution being to export as an image sequence to avoid the flickering. I have tried so many things. I figure I’ll just start uploading crash reports and hope it helps.

Thanks Kevin.

[Rob Viscardis]

I am getting this issue on two machines. One running Magic Bullet, the other not. Tried moving the effects from the adjustment layer to the clip, applying a mask, rendering native and compressed, changing sequence settings, importing sequence into new project, sending to speedgrade, and it still won’t go away. So annoying!

[Rob Viscardis]

I wonder if the peak indicator in Premiere goes off at ~0db and that’s why I’m seeing peaking with masters- because they’re pushed right to the limit… Have you noticed peaking with masters you’ve worked with that you can recall?