[Tim Kolb]

Hmmm…first off, you know that PPro lets you just select all that footage and set the audio to be 2-mono instead of 1-stereo, right? Right-click, modify, etc…

I’d have to attempt to do some XML exporting to see if I can duplicate it at this point…I’m on Windows and don’t pass much work back and forth… It sounds like something weird in the way PPro loads the XML file, or possibly a limitation of the FCP XML format itself.

Anybody working on a Mac able to try to reproduce this one? Probably more productive than a Windows guy going through the motions…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I don’t believe that Premiere Pro supports that deck via F W…it was kind of a special FCP thing as far as I knew…did Avid support that method of capture?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

The project would preserve the audio links in context, but you would have to export the linked clips (keeping in mind that many file formats only support 2 audio tracks) to something else to use the clips witj the dual system audio actually embedded or attached to the media file.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

This isn’t exactly a new idea…other companies do it now. It levels out Adobe’s revenue and also allows them to update software more frequently.

Frankly, in sheer revenue terms, Adobe is trading revenue for stability as many of us upgrade every release anyway. My Web host, Web domains, Web services like DropBox, software like McAfee, etc, etc already store my payment info and charge me when it’s due. I see this changeover as something that will probably be an awkward transition, but I haven’t started fashioning a tin foil hat or anything…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

QuickTime works…the reason you thought it was 32 bit was because it is…

DNxHD in an MXF wrapper isn’t available in CS6…it’s on its way…

Converting to any other format does some recompression…even if converting ‘up’…but you can’t use the lowest bitrate DNxHD flavor to preserve quality anyway.

You can sync dual system sound with clip markers in PPro, or you can use TC, or beginning/end of clips…you can use Plural Eyes if both clips have audio…

Editing H264 isn’t really that much of a problem if you have a reasonably capable system. Premiere Pro edits with all video decoded to 32 bit float and 4:4:4 color sampling…so if your system can play back the H264 material, making all your material 4-5x larger may not be necessary.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

What exactly are you seeing in the source window? Are you calling the clip from the timeline or the project panel?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

So first off, your DSLR is a Canon. The files aren’t AVCHD, they’re H264.

Second…why don’t you want to simply edit the DSLR files directly?

Third…DNxHD 36 is 8 bit and 4:2:2…36 is the bitrate vs your Canon files which hover around 40 Mbits/s max in most situations…DNxHD 36 is an “offline” or “proxy quality” file…low quality, low bitrate, you’re decreasing the quality of your files, not preserving them.

Fourth…QuickTime on Windows is 32 bit…you can send Apple a thank you card for stranding us Windows users here if you like, but that’s Apple’s gig. Adobe has to actually use a custom frame server app running in the background to make the ancient stuff work at all…

Overall, I’d say you’re adding about 5 extra layers of unnecessary difficulty to this…

Edit the DSLR files natively…in CS5.5 and CS6, Adobe actually bypasses QuickTime for H264 files that are wrapped as “mov” and your performance will be much better.

In CS5.5 and later, dual system sound can be linked…search “merge clips” in help.

Edit the stuff and add your color correction and your filters in Premiere Pro and output the stuff to whatever you want to use for playback…if you must go out to SpeedGrade, then export to SpeedGrade and bring the DPX frame sequence back in to Premiere Pro after rendering to merge with your audio.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Tom Daigon] “Im just thankful I now have that capability. Although qt32serve is still a bottleneck that slows things down and I prefer to avoid it.”

Yeah…I think everyone echoes that sentiment. That said, I was running 4K ProRes in the Premiere Pro ‘next’ on a Windows machine at NAB in the AJA booth on an HP820 (and a 32 drive array) and it seemed to behave itself quite well.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I wonder if it’s a newer processor situation?

My Z800 (12 physical cores/24 hyper-threads) doesn’t have any issues exporting QuickTime (though I don’t export H264 through QuickTime).

…I did check on it when you posted it initially.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Those QuickTime alerts seem to be H264 specific…I’m not sure why you would you export H264 via QuickTime on a Windows (or even a Mac) system.

Adobe’s native H264 exporter is far more efficient, and QuickTime plays a standard (and more versatile) mp4 wrapped file without issue as far as I can tell…why put yourself through that to simply get a “mov” wrapper?

Is there some specific difference?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor