[Ryan Holmes]

[Jon Hiseman] “When Adobe has upgraded PPro and AE several times will they still open projects 5 years+ old? What do I do if they don’t. “

This is a valid question. I see two possible solutions currently:
(1) Adobe maintains downloads of older versions of its software on the Creative Cloud site for X years (maybe 5 or 10 years?). Then a user who is a Cloud member need only download and install whichever version they need – CS6, CS7, CS8, CS9, etc. This would be helpful for both users who need to open up old projects, or users who just aren’t on the latest and greatest hardware and therefore can’t run the latest version of CS.

(2) We, as users, shift our workflow. So when you finish a project you export out an EDL, XML, or AAF file for future use. If the project needs to be resurrected you load in one of the above file formats, instead of launching a PPRo project file. I would actually recommend this workflow to anyone because there’s no guarantee you’ll even be running Adobe software 5 years from now. I learned this the hard way with FCP. All my old projects are FCP format. When FCP X came out and I decided we weren’t moving over, I launched all my old projects and exported out XML versions to load into any NLE I decided to move to. This is now standard practice for us.

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

[Ryan Holmes]

[Petros Kolyvas] “Since one edit bay may have three different users at any one time”

Why not just tie the Cloud account to the workstation instead of to the user? Create a generic ID/password for each workstation and you manage that. Whomever works on that station uses the generic account. That way you wouldn’t have to do the business plan. Instead you could just do the $50/month individual account ($30/month if you already have an exisiting CS3 or later license) for each workstation.

Ultimately, I think Tom’s main argument is the lack of perpetual license for the software. I think that’s something Adobe should address somehow. Price-wise, the Creative Cloud is the best value I’ve ever seen if you run several Adobe apps – PPro, After Effects, Photoshop, Lightroom, etc. But again, Adobe appears to be moving to a software as service model and that’s a drastic change for most of us.

[Richard Cardonna] “Maybe if we could prepay for the year it might workout specially for those who upgrade everyear.”

You can. You can buy 3 or 12 month pre-paid memberships. You should probably read more about it on Adobe’s page. It would answer many of your questions – https://www.adobe.com/products/creativecloud/faq.html

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

[Ryan Holmes]

[Richard Cardonna] “i pay 395. gor upgrades for what i use. if i had to pay 600 i would also.”

The subscription model is still cheaper for you. I’m not clear given your situation why you want to own the software at a higher cost if you don’t even use it very often. That costs more money for you just to have the discs laying around? Why?

Also, keep in mind that a new copy of Avid Media Composer will run you $2,500, Symphony about $5,500. FCP X will be your cheapest solution at $299.

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

[Ryan Holmes]

[Richard Cardonna] “I only use it about 4 to 5 month a year.”

Then you would actually be a “perfect” consumer of the cloud based model. Instead of paying $600+ for the newest disc based software that you’ll only use 30% of the year, you just pay for the software at $50/month when you need it. So if you ran it for a total of 5 months per year you’d only be paying $250/year to use the software. By my math, you’d be keep about $400 in your pocket. In your scenario I think the cloud model makes the most sense.

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

[Ryan Holmes]

[Richard Cardonna] “Wil cloud users have special unique features that will not be available to CS7 production premium app owners?”

From what I’ve read and Adobe has released, the only way you’ll be able to get CS Next (they haven’t formally announced if the next version is called CS6.5 or CS7) is through the Adobe Cloud subscription model. So technically you won’t be screwed because if you want the next upgrade you’ll be signed up.

Now there are plenty of questions regarding the Cloud model as a whole, as well as software moving from a product based model (buy once and own) to a service based model (you pay for access month-to-month). For an extended discussion on this see the following thread:
https://forums.creativecow.net/thread/3/938263

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

[Ryan Holmes]

Try it on another computer. If that computer has the same problems with the files then it’s probably something to do with the actual file itself or your storage device. If the other computer imports it fine and runs correctly, then something is just gnarled up on your existing install, and it may be time for a reformat as suggested.

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

[Ryan Holmes]

Sounds like you have an unsupported audio format on your timeline, likely a mp3 file. Convert all audio files to wav or aiff and you’ll be in good shape.

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

[Ryan Holmes]

What about encoding the timelapse video to a more edit friendly codec, like ProRes or DNxHD?

h.264 is a “great” delivery codec, but awful editing codec. Granted, Premiere Pro can handle (usually) h.264 files without much problem, but it is extremely hardware intensive.

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

[Ryan Holmes]

I would start by doing a few things:

(1) Delete your Media Cache in Premiere Pro
https://help.adobe.com/en_US/premierepro/cs/using/WSF08BCDDB-FCD7-40a2-8290-8872EE725E6B.html#WSa41b87baf39dd9b0-4a7aee25125bce32690-8000
(2) Double check that the source file plays correctly outside of Premiere (using Quicktime or VLC), it’s possible the source file may have gotten corrupted
(3) If on a Mac, repair permissions at the folder level of source media
(4) Restart your machine

See if any of those move you closer to a resolution (no pun intended 😉

And may be doing all of them, not just one, that helps alleviate your problem. Premiere has done this to me sometimes as well. It’s almost like it gets fussy and them throws a tantrum on you!

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

[Ryan Holmes]

You’re at a bit of a crossroads. You have a mix of interlace and progressive delivery mediums.

DVD = interlaced
Internet (i.e. computer display) = progressive
Projector = progressive

So you’ll need to decided which one to cater towards. My $.02 on the subject, shoot progressive at best quality. I would probably lean towards 1080p30 over 1080p60. The increased frame rate from 60p tends to look artificial to most people as they aren’t used to seeing it (plus the added transcoding time for having to do frame conversion when you built out your formats since every is displayed in either 24p or 30p).

Interlacing will typically leave you with some ugly results if you pan quickly or there is fast motion in your scenes. I prefer progressive or my workflows. That’s pretty much all I ever shoot. If you do shoot interlaced you can de-interlace it later, but that will soften your image as you’re throwing away 1 field of information. A program like Compressor can de-interlace as well as convert progressive to an interlace format for DVD.

As for FCP X specific questions, you’ll get more help by posting in the FCPX forum. This forum is specifically geared toward “Legacy” FCP, versions 1-7.

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