[Tim Kolb]

I don’t know what an ‘inqscribe’ problem actually is…

As long as you have an Apple pro app on the machine (FCP, FCPX, Compressor, Motion, etc), the rewrapped mov files should work in PPro. PPro will actually work better with the native camera files as it gets QT out of the way.

When you use the Content Browser, you have folder/directory navigation inside the software…it will work just like the old XDcam transfer software did, but now you will just simply drag the clips from one window into a window of the destination directory. All the selected clips will transfer and the proper directory structure (BPAV folder, etc) will automatically be setup in the destination directory.

Inside PPro, the best way to bring the footage in will be to use the Media Browser as you won’t have to dive down into the subdirectories to see the clips, Media Browser recognizes the folder structure and once you get to the folder where the BPAV folder is, Media Browser will just show you the clips without all the nested data folders, etc.

You’ll have to do this about 1 time to realize how much more efficient it is to work with these native camera files.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I’ve used Dropbox for a long time…I have a paid subscription with a pretty hefty capacity.

I know some clients view the videos from the public link…most download them. Whether or not real time playback works seems to be a browser-related factor.

I’m not sure I follow the point about flash being blocked preventing Dropbox playback…are you using flash for your video format? Dropbox and Google drive are data pails…there isn’t any video file conversion just to store a file on them.

I’ve actually moved GBs of production quality files from clients and collaborators using Dropbox without any issues I can recall.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I would use your waveform and vectorscope to analyze 709 compliance. The issue with a ‘safe color’ effect is that they usually don’t scale a property, they clip it.

As long as you aren’t overdriving color saturation (check the vectorscope), or luma (waveform), you’ll be 709 color compliant on an HD sequence.

(Premiere Pro maps 601 color space for an SD sequence)

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

It’s not exactly a straightforward question to answer, but let me take a shot at it…

I haven’t been able to figure out how these new MacPros actually utilize both GPUs to their potential with only 1 CPU as that kind of reverses the ratio that’s been considered to be the most practical up until now…

That said, Premiere Pro will utilize the GPUs (OpenCL) during effects work, interpolation on decode, etc. After Effects will mostly utilize the OpenGL part of the GPUs, pretty much active in the pixel-draw process at the display.

If you’re working primarily with DSLR (H264) footage…I have found that CPU clock speed trumps core count for speed of encode/decode with H264 formats myself…

Based on the bit of info you’ve noted, I guess I might lean toward the faster clocked CPU, but I haven’t done any definitive testing on the MacPro GPUs and how they compare in Premiere Pro…most of the comparisons out there are simply utilizing benchmarking software, or games.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

…then are you setting in/out in areas that leave the poster frame outside the select? That would probably cause a reset…

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I might try to edit on a 1080p50 sequence just to see if the result would work for you…

The 25p material will simply run each frame for a duration of two and the interlaced stuff should end up effectively running a field on each frame (you’ll need to decide if the interlaced footage is compromised for your purposes since each ‘frame’ would effectively represent a ‘field’).

You could then export to 25p, which will simply drop every other frame. You may or may not see a compromise in clarity on the interlace material, but you won’t see the sawtooth edges on action like you would with a simple deinterlace step. You also wouldn’t have to handle/process/convert the files prior to editing with this method.

Obviously I’m advocating a test to see if this yields an acceptable result in your eyes before setting off to edit the project.

Maybe next time all the contributors could be convinced to agree on a format…

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

How are you setting the poster frame?

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I used several ‘lap stations’ over the years…Boxx, several Sagers, Clevos, etc. They all pretty much perform as expected. I’d be cautious of any of the models in the sleekest cases however as they get hot and the sleek ones get hottest with fewer fans and airspace. I once delaminated a DVD in one of these machines…it had a RAID 0 internal drive set right next to the DVD drive, and it was toasty.

There are several options like the Lenovo W550s that are a pretty good balance in my experience. I’d also be aware that gaming GPU cards can sometimes run hotter than ‘professional’ GPU cards (GTX vs Quadro for instance). I’ve had very good luck with Quadro cards in laptops, though my bad experiences with ATI cards pre-date the AMD acquisition of the company so they might be fine as well in terms of current product line…

If you’re on a budget (and who here isn’t?) my personal recommendation in config is to drop to the second best CPU and max out the RAM (or buy the best CPU…and max out the RAM)… I guess the key there is to…max out the RAM.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I doubt any official or verified information exists on what the newest OS is that will run CS3…your best bet is to try to stay contemporary with the software release…so the OS that was current at the time.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

‘Decode’ would be a big part of playback, yes.

I think perhaps the intended meaning was that a BMD or AJA I/O device wouldn’t add any capability, and I think the caution was that the Red Rocket only works with Red footage…it has no effect on any other format you would use.

TimK,
Director, Consultant
Video Producer at I-CAR