[Ryan Holmes]

Anywhere that you put your videos online will get re-encoded by that provider – YouTube, Vimeo, Facebook, etc. The best you can do is to upload the highest quality you can knowing that it’ll get re-compressed on the other end. To that end, I think Vimeo’s specs are a pretty solid starting point and will get you pointed in the right direction:
https://vimeo.com/help/compression

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

[Ryan Holmes]

Preferences –> Media –> Clean Media Cache

A reinstall may be necessary if all options are exhausted…..?

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

[Ryan Holmes]

Additionally, have you cleaned out the “Media Cache Database” recently?

Have you tried:
(1) Queueing a file for export from within PPro to AME
(2) Opening a PPRo project file from within AME and choosing the sequences you want to export
(3) Dragging and dropping sequences from PPro to AME

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

[Ryan Holmes]

I switched from FCS to PPro about 2 years ago, back when Apple released FCPX. At the time, X wouldn’t work in my setup (better now, but still not good for multiple editors on the same project or in a SAN environment). CS6 really is like FCP8, if ever there was one. It’s very easy to learn, use, and get comfortable in. Many of the videos we produce go to h.264 or DVD and the speed gain using CUDA in PPro has been tremendous over FCP7 (CUDA only works if you have an Adobe approved Nvidia graphics card). I find myself dreading it when I have to open up FCP7 again to do something. It feels slow…looks old and doesn’t respond to all the plethora of formats out there now, unless you transcode to ProRes.

I love, love, love Adobe Media Encoder. I use it everyday to batch export projects. You can assign multiple formats and destinations, just like in Compressor. It has access to any codec you have installed on your system – h.264, ProRes, DNxHD, JPEG, mp3, etc. Whatever is on your system then PPRo and Media Encoder should have access to it. So no worries about not having the same codecs when you move.

As for Encore….that program strikes me like the strange family Uncle that nobody wants to hangout with but you have to invite to your kids b-day party. It’s not as user friendly as DVDSP, but once you learn it it’ll get the job done. Even in Adobe’s Creative Cloud unveiling they didn’t really update or touch Encore. I think discs are dying (not dead mind you), so they aren’t investing much resources in that program. You may still hold onto DVDSP to author DVD’s in. You can encode from Media Encoder and bring those files into DVDSP.

There’s a bunch of people at the COW that made the jump in 2011 from FCS to PPro. Check out Walter Biscardi’s blog for his transition from Final Cut to Avid to Premiere. He’s now a pretty serious proponent of Premiere.

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

[Ryan Holmes]

I’d standardize on a frame rate for your project – either 24 or 25. Whichever you pick transcode the footage to that frame rate (use Compressor or MPEG Streamclip for the conversion). That may solve your drifting audio problem right there.

You can also adjust the speed of your audio playback by applying a speed change to it on he timeline, just right click and select speed change from the menu (99.99% or something). Before you do please verify that your audio clip is 48kHz, 16 or 24 bit WAV or AIFF. Any variation off of that can also cause problems.

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

[Ryan Holmes]

[Warren Eig] ” But then again, that’s wishful thinking on my part.”

I think it’s like wishing for a unicorn! 😉

But I don’t think Canon will release an update for this primarily because it’s probably not 100% stable in all environments. It needs to run in 5 degrees or 105 degrees…

My hope is that it pushes them to add more features to their impending releases. If this ability exists in the 5D2, 60D, 6D, 7D then it seems like people (internet blogs, production/post-production professionals, places like the Cow, Cinema5D, etc) will being to put a lot of pressure on Canon to deliver something a bit more robust in the near future. Also makes me wonder how other camera manufactures will react to this news. If this hack becomes stable and usable for the indie market will that impact RED’s offerings? Sony’s? Arri? Panasonic? Like it or not those companies are going to be (and already are) competing against Canon.

As long as there’s competition between them it’s us, the filmmaker/consumer, who wins out.

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

[Ryan Holmes]

[Rick Lang] “Still not the best cameras for any purpose, but very good for most purposes.”

This sums it up so well. Technology has moved to a point where one has the option of owning several different cameras affordably and using the right tool for the job at hand.

For our workflow, we use a Canon C300, 5DIII, 7D, Sony EX1, and soon the 4K BM camera. Each offers something distinct (well the 7D used to back when we got it in 2009!). But the 5D3 is a great stills camera and is very lightweight and somewhat inconspicuous in certain situations where the C300 or 4K BMPC isn’t. The C300 has a pristine image that I’ve fallen in love with (some people complain that Canon is soft, but it looks pleasing to my eye). The Sony EX1’s are good for long-form talking head corporate material. So we now have several different tools for our video shooting needs.

I hope that the ML hack pushes Canon to speed up their plans, but judging by past Canon releases I’m not going to hold my breath. But maybe other camera companies will push them….it does rub my wrong knowingly that Canon will likely get a healthy up tick in sales of the 5D3 once the ML hack becomes stable. Unfortunate, because Canon will reap the benefit through no real effort on their part.

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

[Ryan Holmes]

[Rick Lang] “I think the answer is in the corporate DNA of the companies. “

I agree with this completely! You are exactly right. Both companies have been around for decades (Canon more some than BM), but they have a tradition and a culture for sure.

[Rick Lang] ” And then they’ll offer dumbed-down versions at lower price points determined by the marketing department (like the C100, C300, and C500 sharing the same sensor). But over time that may not be a sustainable approach even if it has worked well for many decades.”

I think Canon’s approach is more complicated than BM by nature of their product line. Sony, Panasonic, JVC, etc. also have this problem. When you have a camera at nearly every conceivable price point that you have to recoup cost back from you can’t just release a RAW 2K camera for $4K. When you offer a t5i, 60D, 7D, 5DIII, C100, C300, C500 (plus all the camcorders), you don’t want to come in on top of anything else and destroy your own market….I’m guessing this is there thinking. Which is why you get, as you stated, “controlled evolution.” You keep tweaking and adding features little by little and keep people upgrading along the way. These companies don’t seem to want to cannibalize their own sales by creating better products. Instead, they want to lock-in user loyalty with incremental upgrades or proprietary formats (SxS, XF codec, etc.). I don’t think it’s a right vs. wrong approach. It’s just different approaches to the market.

On the flip side, Blackmagic is just getting into the camera game. They have to products to protect. However, I’ve seen some upset BMCC purchasers once the Pocket camera and Production camera were announced. They could also be upset because BM didn’t really hit their manufacturing stride with their first attempted camera.

[Rick Lang] “If Apple is really thinking of making a wristwatch”

I’ve heard of this….but who wears watches anymore?!!!!

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

[Ryan Holmes]

Compressor doesn’t integrate with Premiere (meaning you can’t directly export from Premiere into Compressor). You’re just buying Compressor so you can get your hands on the ProRes codec. FCPX is $300 and Compressor is $50. If you just want the ProRes codec package then Compressor is your cheapest option. If you want a different NLE, then FCPX it is.

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

[Ryan Holmes]

So you have FCPX as a trial version?

That probably won’t get you the goods. The least expensive option is to buy Compressor from the App Store, which I believe still gets you the ProRes codec pack. If you want FCPX though, don’t let me stop you! 😉

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