[Tim Kolb]

I’m on Windows, so I don’t typically work in QT or ProRes…

For sake of testing, what happens if you use a different sequence preset that doesn’t use ProRes as the preview codec?

In Photoshop, are the whites full 255 and black set to absolute zero?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Chris Borjis] “One BIG issue that needs to be addressed is Apple/Adobe working together to improve OpenCL to unleash the full power of the FirePro Gpus it has.”

(smile) yeah…I can’t help but be a little skeptical of Apple’s intention to assist a competing NLE to achieve better performance on their box (it would make sense as Apple sells a box either way…but it is Apple after all, so I can assume nothing).

Adobe probably performs better with CUDA, though I don’t have any test data to quote…I just assume that CUDA was viable first and Adobe has been on CUDA longest.

The new MacPro is designed with lots of benefits…”flexibility” is not really on that list unfortunately.

Adobe will continue to improve OpenCL performance…they just happen to be two years ahead on CUDA…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Type of graphic file? bit depth? alpha channel? sequence settings?

…all the detail you can give would be helpful.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Basically Premiere Pro will accept any footage on any timeline…so mixing your 1080p60 and your 1080i30 material on a 1080p timeline should not be an issue. You can select the interlaced clips and change the field interpretation in the bin, and you have the ability to deinterlace on the edit sequence as well.

However, if you don’t have a GPU that PPro can use in your MacBookPro (version CS6 still has a pretty restrictive OpenCL ‘white list’), these are the types of operations that will start to make your CPU grunt.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I think there are a few points of confusion with the new MacPros…

I think the sales pitch on the computer supporting a 4K UI display adds some confusion.

Many computers that may be able to run UHD ProRes footage (at least a stream of it, though running full resolution would still be a question on anything other than a monstrous NLE system) may give the impression to users that they can run 4K RED under the same circumstances. RED camera footage is raw and needs considerable processing above and beyond simply decompressing the data, so it’s quite different.

I also feel like the prevailing message is “if one GPU is good, 2 must be great!” and in a single CPU system, I have trouble understanding how the system has the resources to actually use all that GPU capability. It would be very interesting if a single GPU model of the new MacPro was available to compare actual performance yield.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Sam Lanes] “My all time favourite was a guy who merged 2 x BDMV folders together from two XDCAM EX cards.”

Wow… OK, I have nothing to rival that.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

So…it seems to get better with fewer sequences in the project?

Are any of the sequences nested? …or are you just versioning?

Sequence settings are all the same I assume?

Interesting issue. (Frustrating when it’s yours of course…I’m just interested in knowing more about it.)

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

There are no After Effects “Clips” with Dynamic Link…and therefore the Project Manager doesn’t see any media.

You have to manually gather your After Effects project material (hopefully you manage and organize it well) and move that yourself, unless you render the comps from After Effects and create clips and replace the DL comps (which is what I do).

(sigh)…and yes, Adobe has been informed repeatedly of the incongruity of a suite of software that, in theory, eliminates the need for intermediate render files even though the media/project management in Premiere Pro is incapable of “managing” anything BUT actual rendered files…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

My memory of many things from 9 years ago are fading…not the least of which is how to make a custom project setting in Premiere Pro CS3 (sequence settings came along in CS4).

However, the short answer is that Premiere Pro can cut any dimension you’d like including vertical banners or whatever, you simply need to make a custom project setting for the frame rate and frame size/pixel aspect.

You would do this from the preset dialog…but the labeling has changed over time…I think the edit mode needs to be changed to…”Desktop”?…to get to the settings for custom frame sizes, etc.

I suspect that a search online would uncover some tutorial for this, but make sure it’s version CS3.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I don’t use Prelude because using Premiere Pro to edit means I can just cut the footage natively…

What exactly is the problem? Does the TC reset to 00:00:00 at the head of each clip? Is it a drop-frame/non-drop-frame issue?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor