Tim Kolb
Forum Replies Created
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The maturity of third party drivers for CS 5.5 seems to still have some variability.
Have you asked BlackMagic about your experience?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Gregg…do you need to motion track?
Garbage mattes in PPro live up to their name…they’re good for quick confinement of keys, etc.
Have you tried a track matte? Some of us use the title tool and simply create a black/white graphic and use that as the matte, then track matte content that way…(PPro’s Title Tool is extremely useful).
From my experience there are some abilities of FCP that aren’t duplicated in PPro because of the close familial GFX capabilities in AE, but it doesn’t sound as if what you need is that complex if motion tracking isn’t part of the deal.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Exactly right.
PPro doesn’t have a “render all timelines” feature because…we don’t have to render any if we don’t want to. You go straight to the Media Encoder…
Or, to do what Bob stated through Media Encoder, launch Media Encoder itself, and you’ll find you can load a Premiere Pro project…sequence by sequence as you like…as well as AE compositions.
Leave for the night and take care of all your sequence exports as well as your AE renders.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Phil Radelat] “So ultimately the answer is no, you can’t pass-through unprocessed data without re-processing. At least, not in PP.”
There may be some dedicated MPEG utility or something that does this, but unless you plan on counting frames and making your cuts every “X” (assuming you know how long the GOP is) frames, you’ll be sliding the GOP structure. This is not new as HDV and XDcam are the precedent being MPEG2…to AVCHD and DSLR MPEG4 (h264)
Anytime you go to a less aggressive compression scheme, you’re typically less degrading to the image. DSLR footage has some different data rates depending on your brand…so it isn’t as if it’s “one” format per se.
The best forensic preservation of the image will typically have a direct relationship to the data rate…the best visual quality depends on who’s looking and what they’re viewing on more often than not.
The advantage with PPro over say FCP is that you don’t have to convert all your raw footage, you can cut it natively and master the edit to something more robust.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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It’s a 4% pitch shift if you make the speed change.
If you have dialog, you can make the adjustment in audio after the framerate interpretation is made if necessary.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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I do not know configurations vs pricing as well as Alex.
I’m kind of a post guy who knows enough to be dangerous with hardware. I have other people build machines for me…I haven’t had one built for some time…I am very overdue for an update myself.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Jacob Kerns] “They had a preview of FCPX at the convention everyone was cheering to see a slide show of a product and with no actually demo. Now forward fast forward to present day most everyone that was laughing is switching and calling/emailing me on how to use it.”
That is the case for many of us I suspect. It certainly is here. i have a dozen people in my immediate circle of associates all switching to Adobe. It’s tough to get any work done…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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David’s got this one spot-on. Any footage that is temporally compressed can’t be just simply “cut” even in theory (unless you only cut on the I-frame of the GOP if you knew where they were…) as those GOPs need to re-order.
If you cut out 5 frames that you don’t like…that 20 frame GOP is now only 15…or maybe one GOP is 2 frames shorter on the tail, and the next one is 3 frames shorter at the head and since you’ve cut out it’s I-frame so it has to generate a new one…etc, etc.
Intra-frame means every frame is independent. DV, ProRes, DVCProHD, etc are all Intra-frame and you can cut them up to your heart’s content as each frame exists in whole.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Um…if he has PPro, is he aware that you can simply import the original clips and simply choose “interpret clip” and change the framerate?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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This is somewhat dependent on what formats you plan to work with…
One of Premiere Pro’s biggest advantages is the ability to work with native formats…but native formats vary along a huge range of how much grunt your workstation would need to make you happy as an editor.
AVCHD/DSLR/RED…I’d say 8 cores is a reasonable starting place…4 cores HT is OK…but 8 is better…8 cores HT is better yet. 16 GB RAM will be a purchase you’ll never regret with PPro/AE. Also…a CUDA capable display card, even on the lower end of the spectrum will help you significantly.
You can probably “get by” with 4 cores for typical XDcamEX/HD/HDV stuff…but I’d still urge the RAM and the CUDA card.
The CUDA card is what everyone seems to focus on…but what often gets lost in the conversation is the value of the RAM. You just won’t regret buying RAM…stuff it as much as you can.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor