[Tim Kolb]

Typically 720p30 PN footage should work on a p60 sequence without any customization…

I can’t really see what you’re referring to in the YouTube clip, but 720p is not interlaced. Are you having it interlace when you export to SD? I’d try to keep it progressive, right down to exporting it, even to SD.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

The first thing i wonder about is whether or not PPro can access the Avid codecs. Avid has their codecs available for generic installs on systems without an Avid software/hardware product that need to use Avid assets…

Maybe try installing the Avid codecs and see if Premiere Pro can access them?

…you’d need them on the system after you move away from the Avid anyway, and until you have another capture option, all your media will be Avid…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I know the DS will play out via Red Rocket…like PPro CS5 will. I don’t know that either application can “write” a new, single-stream, RED R3D file…they play it out.

Your question intrigued me to look into the DS workflow for RED and I just don’t see anything in Avid’s material that talks about being able to “export” (as in generate a new, single stream video file) an R3D file. You can export an edit list of your cuts on a given set of R3D material, but you’d have to move the edit list with the R3D material.

Any REDCINE-X changes you make are written into the source media’s metadata similar to CineForm’s FirstLight, so the REDCINEX CC travels with a metadata cache connected to the media.

So…I assume that if your client has an Avid DS system with a RED Rocket on it, you’d do a cut in PPro CS5 and restrict your CC activities to REDCINE-X (no PPro effects) and then move that edit decision list to the Avid along with the R3D material and the metadata…

If the DS system can actually export cut and recombined R3D files, I’d defintely be curious to know more about that if anyone can direct me to a link.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I don’t know that anything outside of a RED camera writes RED files…I’m not sure if you can use RED Rocket to view them from inside PPro. I don’t have one myself…

You bring IN the RED files, edit them, use Cine to do whatever color correction you’d like and have it in the metadata for the clip…etc.

Then the most popular workflows are likely to take that RED RAW material and output it to DPX frame sequences for further post steps in Nuke for effects or a finishing system of some sort.

However, I’m not sure I completely understand your question.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’ve been using a wireless mouse on my primary workstation since CS2…

Never had an issue of any kind.

Like the others have said, it could be that the driver for that particular wireless mouse was funky.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Your in and out points…or your sequence work area brackets?

Actually that IS a feature…if you need to render a little part to view an effect or something, you don’t want to have to render the entire length of a program.

You can also define what you export via this method.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

First off…I’m not sure if saving an illustrator CS5 file might be causing you some pain in PPro CS3…which is in yout sig.

Since Illustrator CS5 didn’t exist when PPro CS3 was written, there may be aspects of that file that are unrecognized by PPro CS3.

Secondly, to my knowledge, I don’t think that PPro sees a “canvas” in an Illustrator file like you’d have with a Photoshop doc. The logo is brought in and rasterized at the size you’ve created it, and cropped to the content. You just have to position it…or build the layers of the lower third by bringing the illustrator element into Photoshop and creating a PSD.

One thing…PPro only rasterizes a vector graphic once…on import. It’s not like AE which will continuously re-rasterize as you scale the logo up/down, so you want to usually bring a vector graphic in at the largest size you’ll need it so you don’t have to scale it up in bitmap.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

All i can take is a couple preliminary guesses…

First, I’d check on the drivers and BIOS for everything… When I took a WXP machine to Windows 7, I had to update the processor BIOS, the BIOS on an older QFX card, as well as (of course) the drivers for everything…

Particularly with a QFX card of that age, I’m guessing you’ll need more than a simple driver update.

Unfortunately I think HP was bypassing PNY (the distributor for North America for NVIDIA, and the source of very competent tech support for Quadro cards) when they were building a lot of these machines, so you may have to work directly through NVIDIA for support.

I’d start with processor BIOS as a general starting point…but i suspect the display card is where the work needs to be done ultimately.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Todd Perchert] “are your playback settings set to use Hardware Acceleration?”

a QFX 4500 is a couple years old…was/is a great card…but predates CUDA by quite a while.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

DSLR footage is H264 4:2:2 at 50 Mbits/s. It’s just as large a file as XDcamHD422, but a tougher decode.

First I’d ask if you are using the free trial of PPro CS5…if so, the MPEG based formats (from MPEG2 formats like all XDcam and HDV to MPEG4 formats like AVCHD and DSLR) are not installed until the software is purchased…some licensing thing…don’t ask me, I’m just the messenger.

If you’re using the trial, then the only way you’re even seeing the footage work at all is that QuickTime is somehow picking it up and 64 bit PPro CS5 seems to have to drag old 32 bit QT kicking and screaming on Macs in some cases…

If you’re not using the trial install, then I’d suspect your processor is just not up to the task of doing the large task of both decoding the video and processing the effect. Not transcoding is great, but ProRes is built to maintain quality and even though it ends up being a large bitrate, the amount of CPU load isn’t nearly as high as MPEG4, which is why it runs well on a variety of configurations.

The part of all this that seems to get lost in the balloons and confetti about PPro CS5 (and I would have to classify myself as an ‘advocate’ but an honest one), is that you pay now or pay later.

Transcoding to an intermediate format like CineForm or ProRes makes a larger file that takes more harddrive to store but less processing to handle. Camera formats are all about smashing the video as small as possible so you can cram as much footage into a camera-load as possible…lower data rates, smaller (sometimes MUCH smaller) files, but it takes a monster machine to handle that kind of pixel, temporal, and vector-based decoding (and re-encoding) fast enough to have a responsive edit session.

CS5 has the capabilities, but you need some serious power to run it…and like Final Cut’s minimum system requirements, you have to assume they copy/pasted them from Microsoft’s requirements for Outlook Express and just disregard them…

TimK,
Director, Consultant
Kolb Productions,