[Ryan Holmes]

You don’t need to worry about the yellow line. Playback in PPro harnesses your GPU so most footage can be played back in realtime without rendering or transcoding. If you’re having trouble you can lower the resolution quality of the footage for playback within Premiere Pro.

Here’s a good primer for what the colors mean:
https://blogs.adobe.com/premierepro/2011/02/red-yellow-and-green-render-bars.html

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

If you need to export XML files from FCX and get that into FCP7 or Premiere Pro you’ll need an app to convert the FCPXML format to the previous XML version. Intelligent Assistance has your answer for that: Xto7

https://assistedediting.intelligentassistance.com/Xto7/

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

There’s no way to do what you’re describing that I’m aware of. You’d have to add the extra frames in AE or PPro before exporting through AME.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Bret Williams] “Like I said before, just making it a subscription model doesn’t prevent Adobe from distributing updates when they feel like it.”

I think we need to be more specific about the term “update.” Feature updates are new or additional features added to the software that did not exist before vs bug fixes which allow the software to run more efficiently or stable on a given platform. It sounds like you’re using the term update interchangeably between features and bugs. Since 2002, due to SOX and the cost of manufacturing/shipping discs no software developer would push feature updates quickly, typically it was 12-24 months between major releases (or even longer for Operating Systems).

[Bret Williams] “The first, with CS6, provided zero major updates during the year.”

That’s because legally, when shipping discs, they are not allowed to offer feature updates for free. So those get pushed to a once-per-year party where you try to draw the users into upgrading to the next version. Apple did this with Final Cut for nearly a decade…same legislation, same problem. Moving to a digital delivery method allows Apple to deliver all your software updates for “free” (while making money on their hardware) and Adobe moved to a subscription model since their only revenue stream is software (free updates for life don’t really work for them).

Also, CC 2014 has already had an extra feature update since it was released in June.

[Bret Williams] “and the life lock-in if you want to be able to open your CC projects in the future.”

[Darren Roark] ” the most popular reason people don’t like it is because they heard somewhere it sucks. The second most popular is that Apple is untrustworthy and could just EOL it at any second, third most popular, the interface is too cute and toy like, fourth, no tracks. “

I think just as FCPX users have their list of “why people won’t use FCPX” Adobe users have their own. Number 1 on that list is probably this idea of “lock-in,” but you solved it yourself later in the paragraph:
[Bret Williams] “If I have to revisit a CS6 or CC project I pay by the month.” Or as I’ve been doing since FCP6, part of the project archive is an interchangeable format – AAF, XML, OMF, EDL – to be able to move the project to another software as needed in the future. Because I don’t expect to be using the same software in the future that I’m using now.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[sarah febbraro] “Does anyone know a camcorder that’s similar to the Panasonic Camcorder HC-V720 that has a pro res codec?”

Not for what you’re looking to spend. But you can add an external recorder connected via HDMI to your setup which will capture in a ProRes format. Cost effective options:
Blackmagic HyperDeck Shuttle ($330): https://www.blackmagicdesign.com/products/hyperdeckshuttle/
Atomost Ninja Star ($300): https://www.atomos.com/ninja-star/
Atomos Ninja ($700): https://www.atomos.com/ninja/

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Bret Williams] ” guess I was more focusing on Adobes continual talk that the cloud will be better because you’ll get the updates as they’re available, not in the big yearly updates. But really not much has changed. When I had the boxed set, we got a number of updates throughout the year over the internet. There’s nothing about CC that empowers that any more or less.”

Bret, just to be clear – with the boxed set (CS4, CS5, CS6) the updates that were pushed were for bug fixes, not new features. This past year Adobe has added features along side of bug fixes for nearly all apps (print, photo, and video). And this has been discussed at length over in the Adobe debate forums. Just to make you aware the change that is created by Adobe (and others, Apple included) moving their software to cloud delivery is largely tied to the Sarbanes-Oxley legislation (or SOX) which has had unintended consequences for software developed (I’m assuming untended here as the legislation happened in the wake of major corporate accounting scandals – Enron, Tyco International, WorldCom, Adelhia, etc.). Walter Soyka has written numerous posts about this and provided a pretty good explanation on why Adobe’s CC model is a justifiable move for Adobe to make to try to add more value to their customers more quickly. Here’s one from earlier this year: https://forums.creativecow.net/readpost/378/6600

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Mark Shepherd] “What is strange is that is detects the signal out of the Mark 3 as 1080i 59.57, even when it is set to 108024p. It is a false detection.”

I’m not positive that it’s a false detection. Canon’s cinema series (C100/300) actually sends a 1080i59.97 signal out of it’s cameras when recording 1080p23.98, with a flag in the stream to denote a 3:2 pulldown needs to be applied. So devices like SoundDevices PIX, Atomos Blade, Convergent-Design Odyssey will detect the flag and pull down a clean 1080p23.98 image.

I’m wondering if the DSLR does this as well since your IO HD is able to detect a signal. But on my other recorders my 5D3 shows 1080p23.98 as the input signal with no pulldown. DSLR’s aren’t made for video….that’s for sure! 🙂

The benefit though, is that if your IO HD can see the signal coming from your 5D3 then it can output to 1080p23.98. So you can still get to your final format without having to upgrade I/O devices as a suggested earlier.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Ali Quintana] “Just one Pic…. or one video…. with no tecjnical info, would a normal profesional be able to see if it is shot on cropped sensor?”

Possible – sure. Probable – I don’t think so. I’m sure a master DP would have a shot. The rest of us not so much.

Just my humble opinion though….

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

There are differences in how the background looks and how the background falls off between the 2 types of sensors. The difference is most pronounced when comparing cameras side-by-side. In a normal sequence of images I think it would be challenging to differentiate between full and cropped sensors (though I’m sure some on here will disagree with me). I don’t think the differences are all that extreme between the 2, but there are differences.

And also remember that there are many types of “crop” sensors – Super35, Super16, Micro Four-Thirds, etc. All of these sensor will act and react to light a bit differently when compared with each other and when compared with a full frame camera. I think Zack at Ded Pixel was right that there’s not that much of a difference nowadays like there was: https://dedpxl.com/crop-or-crap-math-or-moment/

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

No, because AME is building a whole new file when you export. AE is using RAM to preview your comp and rendering on the fly.

I may point out that there is a technical difference between “rendering” and “exporting” in the video world. AME exports. AE renders or sends the comp out to export. Rendering is typically building some sort of preview files within the application to playback media at a consistent realtime speed (23.976, 29.97, etc.). Exporting creates a new file typically using some sort of a codec (DNxHD, ProRes, etc.). However, exports can also be done as an image sequence (DPX, DNG, JPEG, etc.).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost