Tim Kolb
Forum Replies Created
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Yeah…my question mark was meant to be my confusion after the statement “XML is not an NLE-specific metadata format.” Period…then my question mark indicating that I don’t get where you’re coming from on this…
I know where the XML file is in a P2 document and Media Encoder writes the XML file in the same place when it outputs the P2 media to a harddrive…or back to the P2 card to be played back on the camera itself…
Adobe has been doing this for 4 versions now. It’s not new or unproven.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Jeremy Garchow] “I am not talking specific NLE metadata, I am talking about the metadata within the P2 file that will travel with the file, and not be stuck to an NLE project.”
XML is metadata that is read by other applications. It isn’t “NLE specific”…?
If you select the option to write the XML metadata out in Adobe Media Encoder, that metadata can be written in the file, next to the file, or you can still choose to not write it at all.
MXF metadata is like the MXF wrapper itself…it’s implementation isn’t consistent across all formats and manufacturers…reading any and all MXF metadata from P2 to XDcamHD is probably far from a standard process.
I’m not sure how the XML metadata stacks up field-for-field as when I’m outputting P2, it’s usually for some Avid house that has never seen 50 Mbit XDcamHD 422 before…or an FCP user who only uses P2 and is simply averse to anything else.
ProRes to P2 DVCProHD is a significant drop when you take the sub frame resolution into account. AVC-Intra would be a really good option, but if the Avid house Bob’s dealing with doesn’t have the capability to read ProRes…AVC-Intra may be a little “space-age” for them too.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Hi Cody,
With Premiere Pro, you’re flexibility probably just improved by more than you can even see with your eyes.
If you were converting your DSLR to ProRes and then editing it on a DVCProHD timeline in FCP, you were doing a lot of conversions…
With PPro, each sequence is basically looking at frame rate, frame size, and pixel aspect ratio. That’s it. There are sequence settings that note different camera formats as a guide, but unlike FCP, those formats are not the “basis” for the sequence.
When you’re using DVCProHD 720p, it’s not a full raster codec. DVCProHD which would play out as 720 actually does not have 1280 stored columns of pixels (the full HD frame size) like HDV or XDcamHD…or ProResHQ does…it’s 960×720 and the pixels are all stretched horizontally to fill the frame. It’s one reason why editing DVCProHD is so fast to work with.
When you mix in DSLR, 1920×1080 full frame HD, you have both a frame scaling process to implement…and if you’re on a DVCProHD sequence, a resolution adapted PAR adjustment to make too.
PPro can do this…and in CS5.5, pixel and PAR scaling are CUDA-accelerated. My recommendation would be to use a custom timeline that was square pixel. I’d let the DVCProHD stuff scale across a 1280x720p square pixel raster and have the DSLR scaling down from 1080 without forcing it to also drop to a non-square PAR as well. I think you’d get better performance balance.
It’s up to you how you go about it. PPro is about as flexible an NLE as there is for mixed format editing, so I’d also let the frame and format I’m ultimately targeting weigh among the factors I’d consider for sequence settings.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Jeremy Garchow] “You can easily use P2CMS to modify the metadata.”
I believe the exported “clip names” show in the PPro media browser, which interprets P2 to the users as clips as opposed to folders of various component files with alpha numeric nonsense names.
I think anyone who appreciates metadata has to look at Adobe’s workflow pretty closely. The metadata that Apple handles now is the stuff that Adobe’s been working with/expanding on for years.
I still say that CineForm wavelet VBR is the closest to a truly universal codec being truly cross platform, Y’CbCr and RGB options, a RAW version of the codec, the most elegant stereo workflow available, FirstLight metadata interface for everything from color correction and LUT implementation to stereo alignment… It’s the closest thing available to an actual self-contained yet universally compatible standardized codec and universal workflow I’ve seen so far.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Richard does a nice job with his book.
There are a variety of training resources from a variety of trainers.
Adobe doesn’t list all of them on their website.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Yes, Media encoder makes P2 (even right back to the card) compatible files.
HOWEVER…since the files are compatible in structure, they are also compatible in naming protocol…which means the file names are every bit as useful and intuitive as normal P2 files.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Sean Thomas] “What’s funny is you know Avid and Adobe are already trying to copy the cool stuff from FCP X”
example?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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TIFs are not supported at 16 bit…however 16 bit PSD files are supported.
AJA drivers installed to drive Kona products or the IO Xpress installs a 16 bit TIF capability (along with other formats).
PPro itself is capable of 32 bit float…deeper than any other NLE other than FCPX. You need to check the “max bit depth” in the sequence settings.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Jacob Kerns] “Makes me want a RED cam though!”
Or anything…that was any color at all.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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After the new driver install, other apps see ProRes (like AE for instance?)
Also…you need QT7.x installed for Premiere Pro. QTX will not work.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor