[Tim Kolb]

[Adrian Tecson] “Based on personal experience, there is no speed difference when editing on a Windows platform while accessing media from Mac formatted drives using Macdrive.”

Thanks Adrian…I suspected that might be the case, but I have no experience using Mac Drive that way.

Excellent news.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I’ve ran LT before…I have no idea if there are any differences between the free version of QT and QT Pro on Windows…I’ve run Pro for years as it’s just too handy and inexpensive to not have…

Does QT player run the file in question on Windows?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I think the challenge with your question is that it’s so broad that the answer to almost all your example scenarios could be “yes” in any given circumstance.

You can certainly copy/paste your edited scenes into an After Effects comp…

But simply opening the Premiere Pro sequence in AE would likely be easier…

You certainly could render it all out of After Effects as master clips and do a final assemble in PPro…or you could save those AE projects with your color correction work completed and dynamic link those comps to a PPro sequence, and then export the timeline, cutting down the process passes…

What does everyone else do? I think you’ll find that PPro does not have a “marquee” color correction workflow like FCP did for the last handful of years…the options are nearly infinite.

-The standard CC tools inside PPro are effective, though the interface has been a point of contention for many of us for a long time…

-Colorista 2 works in PPro…the graphic UI can be a little stuttery compared to AE on some systems, but it works the same way.

-Synthetic Aperture has a very powerful CC tool inside AE already…it’d be a great thing to roll into PPro.

-AE has color management, but PPro has the scopes…a little conundrum there…it’s been pointed out to Adobe.

-As far as post-edit “finish” CC work, I personally like the Iridas interface, but there are a myriad of options out there including Scratch, DaVinci on the Mac is an immensely powerful and industry go-to application (not to mention they just came out with a free version!)

-Dynamic link is a great technology, but it takes a pretty stiff hardware platform to handle a lot of it, so if you would like to CC in AE post-edit, I’d advocate this:

1-edit in PPro,
2-load PPro sequences into AE as comps(not DL from the sequence),
3-CC in AE and save the AE project and give the comps a name that will help you keep them straight in PPro,
4-Launch PPro, DL the CC’d AE comps and get them set on a (properly configured) sequence,
5-Export out to whatever (keep in mind that CUDA carries some water for you when exporting directly from PPro, but not when you send the job to the Media Encoder external queue.)

That last export will be a beast depending on the length of the timeline, so bring some comic books…

As far as what format to create for a film festival…I find that each film festival is different so it’s likely you’ll be making different versions for different festivals anyway…

Maybe for that big final render, you want to create a “Master Clip” of the project (I use CineForm myself) and then use that for your compression source when each festival’s requirements are known? It’ll save lots of time vs running that AE comp aggregate sequence every time…

Vague I know, but it’s pretty wide open with the Adobe suite, so your preference as to how you like to work and your system configuration are all factors in what is the “best” workflow for you.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Another vote for MacDrive…

I’m not sure if it slows anything down or not as it allows Windows to read the drive format…the files are the same.

I typically use it for transfer drives and get my media onto my edit drives…if MacDrive allows you to read your Mac format media drives, you may or may not see a noticeable response difference, though I’d be curious what your experience is when you get that far…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Keith Moreau] “there seem to be some flavors of Prores that I was using in my project that Premiere Pro windows didn’t recognize, in fact it seemed that a lot of the Quicktime stuff was just unavailable on the Windows version, which, if you have a lot of Quicktime Prores or other files, it might be a pain to have to figure out. “

The only QT files that should present a challenge under Windows would be the ones that only FCP installs…namely the DVCProHD and HDV captures and the QT rewrapped P2 media. Installing the latest QT (I use QT Pro) for Windows should allow you to read anything QT other than those FCP-rewrapped formats, which Apple does not include in QT for Windows, but Calibrated Software can take care of even that.

ProRes can only be -encoded- on a Mac with FCP installed. It can be read by QT, but even on a Mac, you can only write ProRes files if you have FCP installed (other software will see the codec and encode to it as well on the same system).

I’m on Windows and work with ProRes somewhat regularly…it’s not a problem to source it.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

A dual quad core would be the best recommendation in a Windows system for the work you’re attempting as well…though any system that can run a CUDA card will definitely “stretch” some lighter specs on any of these machines.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

When you have a 1920×1080 sequence and place 1280×720 footage on the timeline, it will look smaller…because it’s smaller.

You can either elect to use a 720p24 sequence and use the 720p footage at full frame and scale down the 1080 material, or you can work on a 1080 timeline and do what you did…scale the 720 footage up.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I hope that the frame rates are at least the same. Vince’s advice is right on.

Keep in mind that horizontal motion exhibits different characteristics in progressive as opposed to interlaced. If you’ve shot very different components of your project with the two cameras, the two “looks” may not be very awkward, but I would say that mixing the two sources together as if they were the same source, or multiple angles of the same action may be helped somewhat by forcing the interlaced clips to “deinterlace” on the edit sequence.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Steve Connor] “Really no excuse for most vendors not to have Lion support ready, it’s been in beta for quite some time.”

I’d be curious if Apple has extended the same spirit of cooperation to the likes of Matrox that they’ve supplied to Adobe with Lion…

🙂

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

You’ll have to supply more process detail.

If the video size is small, chances are there is a strange encode setting somewhere…that’s pretty unusual.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor