Shane Ross
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I thought these were able to be rolled back to Mojave. That’s not the case?
Shane
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Adobe Marketing has successfully convinced you that Adobe Premiere Pro works with any format, just drag and drop and no transcoding, as long as you have gobs of RAM and a fast processor and that CUDA thingy. But, real world experience has shown that not to be the case. MULTIPLE editors experienced with PPRo will tell you that it doesn’t work as advertised, and transcoding is the best solution…especially when it comes to H.264 files…and more so with 4K H.264. Either low res proxies, or high res edit formats like ProRes or DNxHD.
How does RESOLVE pull it off? Not sure. But yeah, Resolve is not a fully featured editing app like Premiere or FCX or Avid, and lacks features that make editing as fully featured as the others.
SO…if you are going to use Premiere Pro…best to transcode. Sorry that it’s “not the way it’s supposed to be” in terms of drag and drop and NO TRANSCODING, but that’s how the cookie crumbles. I was hoping for that too, but alas.
Shane
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Use the tools you have. Adobe After Effects can scale well, Instant HD does an OK job. If you can’t afford the hardware, these software options will do just fine. I’ve used them many times myself. Of course it won’t make SD look HD by any stretch of the imagination, but it won’t degrade the image that much.
Know that blowing up DV does REALLY show off the stupid DV compression lines. No way around those.
Shane
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MP4 and MKV files are HIGHLY compressed, and most often NOT suited to editing. Not sure where you are getting that information, but it’s wrong. MKV should never be used for editing, and MP4…can work sometimes, but really is a delivery format, and not suited for editing.
Now…quick lesson on terminology. MOV is a “container,” as has been mentioned. It can contain one of a couple dozen codecs. ProRes, DNxHD, Animation, Sorenson, H.264, MPEG-2…list goes on and on. Picture it like a can without a label. That can might contain carrots, or green beans, or peaches, or corn. So you don’t just say to someone, “I have a can of food,” you need to say “I have a can of peaches.” So with video, you say “I have an MOV file in the ProRes codec…”
So, as people have asked, what CODEC are these MOV files. Because just like MKV and MP4, many many codecs are not suited for editing. PRORES is…DNxHD is…DNxHR…Cineform. Those are editing codecs. H.264, Animation…not so much. Adobe might CLAIM that Premiere can edit those formats…and it is POSSIBLE, but to do so, you’ll need a beefy computer with lots of RAM, fast processors and killer GPU to decode that footage in real time for smooth playback. Really, it’s best to convert the footage to an editing codec like ProRes…or the others I listed above.
So, yes, convert…but convert to the proper codec.
Shane
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Well, I’m running 2019.2 on my machine that is running High Sierra…seems fine to me.
Shane
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The thing is, Michael, it USED TO WORK. I recall doing this with P2 MXF files…just being able to drop them in a numbered folder, Avid would generate the database, and I’d drag that into a bin.
But then it stopped working. That’s the main question here.
My only guess is that Avid changed a lot of things about MC, including the MXF codec it natively works with. I’m no engineer, so I can only guess at this stuff
Shane
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Fast enough for a SINGLE stream, yes. Multiple stream, no. You’ll need a RAID.
Shane
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Well, the editor of PARASITE, Jinmo Yang, just won the ACE EDDY award. This often is an indicator of where the Oscar goes.
Yeah, I know it’s NOT the tool. Just interesting that 10 year old, discontinued software is still being used on features, and is helping win awards.
What film cut with FCPX won an ACE Eddy? HMMMMMM!?!?!
(shade throwing continues!)
Shane
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[Brett Sherman] “Work with crappy footage someone shot on their iPhone? They wouldn’t think of it.”
No. We just have to work with directors who wants to shoot 35mm, 16mm, Super 8mm, and some hand cranked 16mm Mitchell camera that Bob Richardson has in his arsenal. OH, and then throw in new footage shot on HD video and then some of that crappy 4K iPhone footage, and about 15 GoPROs.
[Brett Sherman] “I think this post is rather tongue-in-cheek, but the notion of what software is used for Oscar-nominated films is a rather silly to me.”
Yes, and that was the WHOLE point. It’s silly that Avid does this. It’s silly when people go “OH! LOOK! This feature film was cut on FCPX! It’s breaking into the Hollywood system! A FOOT HOLD!!” The film didn’t win because it was cut on X or Y (we all know this), yet Avid PR keeps pushing the “CUT ON AVID!” and people here keep touting “Look FCPX is good enough for Hollywood! It plays with the big boys in features!” “Has anyone seen an article about someone using Resolve to cut a feature?” “Premiere was used on DEADPOOOOOOOOLLL!!”
But it was also to show that my beloved FCP 7, that I devoted all my heart and soul and energy to, still has what it takes to get shit done!
Shane
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Well, not sure as to why it worked before and now it doesn’t. Is this the SAME EXACT camera that you used to do this with? Or an updated version? Because looking up the latest version, it records XAVC and MPEG-2 formats of XDCAM, and Avid doesn’t support either one as “Avid media.” Meaning dropping them into the Mediafiles folder doesn’t work. Wondering if an older version did happen to record the exact format Avid likes. OR…if this camera no longer records OP Atom MXF, and now uses the Op1A MXF container.
Solution…Source Browser to LINK, and then CONSOLIDATE. That is as fast as copying to the hard drive into the Mediafiles folder. If you can’t consolidate…well then transcoding is the only way to go. OR, use Resolve to convert to Avid media…depending on the power of the computer, but might be quicker.
Sorry, lots of editing tasks are “time consuming” processes. But I do hope CONSOLIDATE works….it’s as fast as direct copy, because that is what it’s doing, just re-wrapping the codec into a new wrapper.
Shane
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