Shane Ross
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Try an earlier version of Premiere Pro…2017. I hear too many issues with 2018 that people who then go back to 2017 say solve them. But not sure projects can go back…but worth seeing if the frames drop…
Shane
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Yes…compound clips from FCX are a big issue. They most likely are the cause of this slow import as well. Commit the edits on the FCX side, so collapse the compounds. And then export the XML. I suggest Media Managing all the footage used in the cut to an external location as well.
Shane
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Bringing in the XML of a SEQUENCE ONLY, right? Not an XML of the entire project? Because you can only do this with sequences.
Shane
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[Bill Davis] “I’m also curious to see what happens to the aging stuff like Open CL and Quartz Composer.
More than ever, it seems if you aren’t re-versioning EVERYTHING across the platform – then the legacy stuff tends to hold back performance more and more. There may be increasing tension for users who want to keep doing what they’ve been doing – verses those that demand more and more performance. “
From what I read on Twitter, from a developer…Apple phasing out support for these “aging stuff” of Open CL and really only furthering their own METAL format…means that the developers need to do more REVERSIONING of things in order to stay Mac Compatible. Double the work…since Windows is still using that other “aging stuff” as you say. Because of this, and because of the smaller user base of Pros using Mac computers for heavy intense graphics…these developers will wonder if it’s even worth doing it. (Apple more focused on iPhone, iPad, iWatch still…) So will this mean that actually Apple is left out…or left behind…because they are pushing ONLY their METAL format?
I’m not a developer, so I can’t say. But I think it’s a bit arrogant to push your computers and OS to only use a graphics format you made, when your market share of pro computers is pretty small. Apple still isn’t a powerhouse in the computer market…their wealth is built on the smaller consumer devices.
SO yes, Developers really DO need to see what Apples commitment to hardware is. Going to push laptops and then eGPU…iMacs (and some iMac Pros) and again, more and more eGPU…just to do what far cheaper Windows machines with GPU that can be installed internally, without the need of external devices..and that will run OpenCL or CUDA or whatever.
Shane
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[Michael Gerrity] “I just find it hard to believe/weird that the J-30 would have firewire out and that wouldn’t be the optimal way to capture the footage.”
That option only gives you DV quality. I always wondered why that was on that deck, as you can’t control the deck with it, quality was worse. To feed some sort of monitor? No clue. Maybe as a way to make window dubs on DV for transcribers….who knows (besides the Sony engineers)
[Michael Gerrity] “Do you know if Avid or proprietary Sony software would have been better suited to capture via Firewire from the J-30?”
Nope…it’s not the software you are using to capture that’s the issue, it’s the quality of video that comes out of that connection. It’s DV, and that’s worse than component. (4:1:1 chroma sampling opposed to 4:2:2…LOTS of information lost)
[Michael Gerrity] “Was it just for easy viewing and control from a computer?”
Yeah, wish I knew.
[Michael Gerrity] “So far it looks like I am indeed getting the best results via the component capture.”
Good. Yeah, that’s the proper use of the deck and AJA IO and FCP. That’ll get you the best results by far.
[Michael Gerrity] “I’m curious why I can alter the capture settings, including the compressor it’s using, if it’s totally inadvisable? I know it’s Pro software, so more options are always preferable, but why include options for things you wouldn’t or shouldn’t use?”
That’s meant for higher end options, like altering settings for capturing via the IO or other hardware. But because the settings are alterable, it means you can alter ANY setting. But just because you can doesn’t mean you should…and in a lot of cases it breaks things. This is why it’s always best to use the EASY SETUPS, and only alter if you have more advanced needs. But never alter the DV capture settings…you can alter them because they coded the software to alter settings…but didn’t lock these from being alterable. Lazy coding I assume.
[Michael Gerrity] “Were these settings more so available for capturing offline footage for editing? So you could capture all of your raw footage at a significantly lower quality?”
Yes. You could alter to capture at an offline resolution, or potentially higher resolution. Which is something you can do with the IO…but I would NEVER do with DV. Don’t alter DV settings, results are bad, if they work.
Shane
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[Bill Davis] “But if you can literally pop up your personal avatar to do a talking head demo in the near future – change it’s dress and appearance to iconically address safety, sales, engineering and finance – with a keystroke – then what could you do with all that “talking head shot on location” money you don’t need for Project X anymore?”
I was wondering how you’d slobber all over Apple and spin emoticons into a genius move and something that professionals would TOTALLY use. Yeah, emoticons of someone giving a presentation is completely professional…on the same level as seeing the actual person on screen. Right, got it.
As for saving money with “talking head on location,” green screen technology does exist…
Shane
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[Ida Hugge] “We are two editors for the same project –> One using AVID MC and one using PREMIERE PRO. “
Bad idea. If you are two editors on the same project, you both need to be using the same editing application.
[Ida Hugge] “We can’t get the programs to talk. How do we do that? “
You can’t. Stick to one editing application.
[Ida Hugge] “The computer that has Premiere on it runs 4K, but the computer with AVID has a lower resolution. “
Why? Avid edits 4K. Well, depends on the version…if you are using a VERY old version, you can’t. But the current versions do.
[Ida Hugge] “We have the master files in AVID.
We need to be able to edit at the same time and without overlapping the projects on either computer. “Don’t do what you are doing. Choose one editing application and both use that. And if you want to both access the same project (only Avid can do this)…then you need other hardware to enable this (ISIS or NEXIS shared storage that allows for bin locking). Premiere cannot share project files at this time.
[Ida Hugge] “All the files has to be edited in ADOBE by the end. “
OK…then stop using Avid and both use Adobe Premiere Pro. You might have to have separate project files, but you can import sequences from another project into yours…so there’s that.
[Ida Hugge] ” I mean with after effects and so on. So all the AVID files has to be compatible with PREMIERE and the other way around. We do post p. in ADOBE. “
Then stop using Avid and both use Adobe. Sorry I keep saying that, but it cannot be stressed enough. Two editors, one project…use the same editing application. Any thing else is asking for trouble and a LOT of headache.
Shane
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Well, as a non-FCX user, the one thing that did excite me was the DARK MODE option. But that’s it. Lots of talk about eGPU and showing results with Resolve (not FCX…hee). And because of the constant eGPU pushing…I’m not really holding out hope for what the new MacPro might be.
They really did push their new custom emoticons though. So we can keep our selves amused until they decide to do things for the professionals. Besides Dark Mode, that is. I really did like that. I can’t wait to get my custom emoticon so I can show my excitement for that…
Shane
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No, I didn’t misunderstand. I know exactly what you are doing…and what you are doing is wrong. If you want video to be captured in good quality using the AJA IO…then you need to tell FCP to see it. To do that, you use an EASY SETUP.
Go to the FINAL CUT PRO menu, and choose EASY SETUPS. In there, look for the AJA IO options…choose one. Typically it’s uncompressed 8-bit. Again, I don’t think that there will be a ProRes option, as that codec came out long after the IO was discontinued. It MIGHT be there…but I’m doubtful.
[Michael Gerrity] “I’ve made the changes above with the standard DV-NTSC preset as well. For all of my DV decks, the only digitizer option that shows up is “DV Video,” I leave this default, but I change the compressor from DV/DVCPRO – NTSC to ProRes 422.”
Oookaaaay. Not sure what this does. But you are taking the DV protocol, and modifying it. Still having it bring in DV video…but then having the computer somehow encode to ProRes. I know this option works for HDV, didn’t know it worked for DV. You gain NOTHING doing this. You are, in fact, compressing the video. If you kept it DV, then it would be completely lossless…a 1-to-1 digital transfer. Going to ProRes, you are adding a layer of compression.
[Michael Gerrity] “For MiniDV/DVCPro/DVCAM I’ve had no issues. “
Correct…because you are using a DV easy setup and capture protocol…with DV decks.
[Michael Gerrity] “However, when I have the Sony J-30 DigiBeta deck connected, the digitizer says, “J-30″ not DV Video like every other firewire deck.”
Correct…because you are trying to use a DV protocol on a non-DV device. DV protocol would have deck control and video capture both happening from the firewire port….and it would capture as DV. If you have the deck…
WAIT…are you connecting the DECK Firewire out to the IO? I know this deck has Firewire out, and that will send a DV signal…meaning compressing the image to DV. But you can’t control the deck that way…nor can you capture ProRes or Uncompressed. What you SHOULD be doing is Connecting the deck to your IO card via COMPONENT cables, and then the card into the computer. Is that what you are doing? How is all of this connected?
[Michael Gerrity] “But maybe I can’t capture ProRes via firewire, but what if I have the same problem if I set the compressor to 8-Bit Uncompressed, or DV-NTSC?”
No, you can’t. This really only worked with HDV devices..and apparently you got it to work with a DV deck. But the J-30 isn’t a DV deck, so no, you can’t. You need to connect it to the IO via Component, and then the IO to the computer via Firewire…And use an AJA IO EASY SETUP. You might not get deck control, because you can’t control the deck via firewire…for that you’d need a USB to RS-422 adapter made specifically for this. ANd without deck control, you can’t capture timecode. You’ll have to set it to UNCONTROLLED DEVICE and manually press play, and capture.
[Michael Gerrity] “but is my only other alternative to take component out from the DigitBeta and capture via the AJA for the best image?”
YES…that is what you should be doing. That is how you get this to work properly…
[Michael Gerrity] “What, if any, capture preset can I use for capturing DigiBeta via firewire? “
The AJA IO Easy Setups. Nothing else will work. That’s the only way to get it to come in uncompressed. If you go Firewire from the deck directly to the computer, you can get DV quality, but that’s lower quality than the tape is.
Shane
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[Michael Gerrity] “Since there’s no FCP preset for DigiBeta, I adjusted the built in DV NTSC capture preset and changed the compressor from DV to ProRes 422. Is this inadvisable?”
Yes…that is wrong. What you do is choose an AJA IO EASY SETUP. Those will be in the Easy Setup list. Choose one for Uncompressed 8-bit (if they have one for ProRes, go for it, but I think that format came out after the last drivers for the IO did) and that should be all you need to do. You do have the drivers for this installed, correct?
[Michael Gerrity] “I’ve been doing this for my MiniDV captures and I haven’t noticed a loss in quality. “
Because choosin DV/NTSC while using a miniDV deck is the right things. BUT, when you use the IO, you need to choose the setup for the IO…that’s how you tell FCP to look for and see that device.
Shane
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