[Tim Kolb]

[David Gaudio] “Yes, that’s correct – media folders I created myself. Which has worked fine up until now…”

As it should. I just wanted to be clear on what we’re referring to…

So the media disappeared? Drive space is freed up? I have never seen or heard of anything like that…ever.

I’ve been off of Mac for over a decade, so I’m not as aware of all the OS peculiarities that may be in play…but Premiere Pro doesn’t do anything to the media files…it just remembers where they are. I have no fathomable idea as to how it could even do that.

I’d say a more likely scenario is that whatever caused the media to disappear probably is what corrupted the Premiere Pro project as opposed to the other way around.

What else was going on on the system when you were quitting the project? Was anything else going on in the background on the machine? Network access with the media on a shared volume? Hard drive acting funky?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

First…H264 video footage (your DSLR video) is aggressively compressed and takes some torque to work with. Your system could probably work with uncompressed DPX files, or ProRes much smoother than H264. Ideally you’d at least want more RAM and a PPro-usable GPU…some more processor grunt wouldn’t hurt of course.

Keep in mind that your 550 camera was introduced in 2010…in 2008 there was very little DSLR editing going on. What DSLR footage was being handled on Macs was being transcoded to something else.

2012’s Premiere Pro CS6 handles DSLR video pretty well, but it isn’t designed to run on 2008’s hardware and achieve its maximum potential.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Interesting, Jeff…

Typically, a frequent reason for this is the application’s permissions to save its media database on the targeted drive, but in this case everything targeted to the media drive and the same drive letter assignment.

The system clock is a new one on me, but one of the better hypotheses I’ve heard.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

When you refer to Premiere Pro Media Folders, do you mean folders that you made yourself? Were they folders you placed media in before editing the project?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

You’ve compared your method to just exporting from Premiere Pro and making an SD file your target? I’ve been supplying broadcast content for years and never had a quality concern…and it’s a couple clicks vs the added steps in your process…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I have the previous model, the W520…16GB RAM, i7, 2GB Quadro card…works very well in my opinion.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Angelo Lorenzo] “ProRes 4444 is mutable in that it can encode in both RGB and YUV. With that said, Adobe is TERRIBLE at documenting the nuances of export.”

Keep in mind that any nuances of ProRes are in Apple’s wheelhouse.

Premiere Pro will simply encode to whatever you’ve set up in QuickTime.

For storing over-brights, Walter’s post above shows the export dialog, which is relatively transparent.

Premiere Pro works in Y’CrCb, 32 bit float. Any effects that aren’t labeled as “YUV” (which is NOT the same as Y’CrCb…but that’s another discussion), will not only be restricted to operating in RGB, but they also only work at 8 bits, so if you have RED footage you just want to cut and send off to Nuke or a finishing station, stick with the color correctors and the effects that clearly indicate “32” and “YUV”…or in the case of some effects like Colorista, it’s RGB (so no “YUV” designation), but it’s still 32 bit float.

Unfortunately for the time being, AE is color-managed, and Premiere Pro has the scopes. It’s kind of an issue…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I think the key to the “slight edge in build quality” is that -all- Quadro cards are built by NVIDIA, and NVIDIA supplies tech support for the drivers AND the hardware.

-No- GeForce cards are made by NVIDIA…there are a dozen or so licensee manufacturers that manufacture GeForce cards.

Is that a bad thing? Nope.

The reason why it’s easy to “qualify” NVIDIA Quadro cards is that there is one of each model…with GeForce cards, there are a dozen of each model (one from each manufacturer as they can be made compliant with the license and still have small variations as each manufacturer IS trying to make their version better to compete more successfully). Are slight variations a problem? I haven’t seen any among my colleagues personally…(I’ve typically used Quadro cards I should disclose).

Do a lot of users employ GeForce cards with no issues? Absolutely.

Does Adobe have some sinister plan beyond a limitation in manpower and time to certify all the GeForce variants? None that I’m aware of…

So…there’s the no-drama story about the differences…pick your best option and go for it.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Tom,

So you can make a change, re-render and the asset “self-updates” in PPro while the PPro project has been open with the clip imported and on a sequence the entire time?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Wow…this thread came back from the archives…

The preview renders in PPro are really meant to be temporary…though I’m not sure why the preview would dump for one Dynamic Linked comp when you create/alter a different comp in the AE project if there is no nesting or changes made on the second comp that would affect layers in the first comp.

All that said, I’ve always started with a DL’d comp and then made a render to insert in the sequence, moving the DL comp to an upper, disabled track.

Part of the reason is that things do tend to run a bit smoother, but also because the project manager does not reach out and gather up DL’d assets, so if you don’t create a rendered ‘clip’ asset, and you overlook a particular AE project through a manual process of gathering all those ‘external’ assets at project conclusion, you may archive a dynamic link to nowhere.

Rendering the animation and embedding the project link is definitely a good plan, the only caveat being that I haven’t typically been able to overwrite the rendered asset out of AE when PPro is launched with the original asset imported, so the new render needs to be a v2.0, etc.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor