[Timothy Eaton]

Erobert,

AVC Intra is a different codec than the AVC HD codec to which you are referring.

[Timothy Eaton]

I was wondering whether that might be the case.

[Timothy Eaton]

Thanks Jerry. This works! Tim

[Timothy Eaton]

Gary,

The issue I’ve found with capturing using the AJA 23.98 setting is that while it removes flagged frames on capture, it stops short of the outpoint in the original footage. If I capture using AJA 59.94, then it correctly captures the entire clip, albeit at normal speed. I can then use the software FRC to pull the redundant frames and voila, it works great.

So far, nothing has removed the redundant frames from Varicam intervalometer footage. You probably know that in intervalometer mode, the Varicam lays down approx. 10 frames each time it records. It appears those frames stay in FCP no matter what flow I use. Perhaps I’m doing something incorrectly

Thanks Gary, and also Ben. Great help!

[Timothy Eaton]

Walter, I’ve got it now. It’s actually a pretty elegant solution, all in all. All is good. Many thanks!

By the way, will this be supported in ProRes422?

Tim

[Timothy Eaton]

Sandman,

Since we use a Panasonic Varicam, we’ve been begging Adobe to support DVCPro HD for two years. I’m afraid it’s fallen on deaf ears, with no sign of an integrated intermediate HD codec on the horizon — I checked with Adobe at NAB just to make sure. They made an enormous commitment of resources porting the Production Suite to Mac, which is of no use to us whatsoever. We would much rather they had committed themselves to fixing subclips, large projects, large still files, and most important of all, a suitable intermediate HD codec which would allow us to avoid an offline-online nightmare for long documentary projects.

We have been longtime Adobe Premiere users and supporters, but since Adobe has not addressed what we consider underlying fundamental problems with the program, we pulled the plug at NAB. Apple is answering the questions we’re asking, particularly by providing an integrated 10 bit intermediate codec in the form of ProRes422, we’re moving to Final Cut. Yes, we did try Cineform, and while it may work for others, it did not work well for us. Cineform was kind enough to try and address our issues, but in the end, we couldn’t even get the timeline to play.

We’ll keep at least one Premiere workstation for legacy projects, but we have come to question Adobe’s commitment to supporting a high end professional edit solution. Perhaps their market lies elsewhere, or perhaps (really giving them the benefit of the doubt) it simply doesn’t mesh with our workflow.

My two bits, Tim Eaton

[Timothy Eaton]

One more thought. I’m assuming that since Tim Kolb and Anareev and the other guys who have some contact with Adobe aren’t talking about betas that address this memory issue, they haven’t been given any betas. Or is it just that the non disclosure agreements are very tight and Tim and Anareev are honorable guys? I hope it’s the latter, because development cycles being what they are, if a solution is not already in beta testing, we probably can’t wait the cycle out.

[Timothy Eaton]

We are longtime users of Adobe products on the Wintel side and have generally been very supportive of Premiere. It is a marvelous product for relatively small projects. As for Apple, competition is great when it improves products, but I haven’t been much of an Apple fan over the years because I think they’ve done all they could to inflame an unhelpful (from the end user’s viewpoint) war of words over the platforms, and I’m sure FCP has its own problems. That being said, I think Pat, Marisu and others (on an earlier thread) make an important point. They are only asking Production Studio to operate in the real world of post production. It’s not unreasonable to digitize 30 or 40 hours of footage for a documentary, import a few hundred stills and then expect Premiere to operate as advertised, with dynamic link, multiple sequences, nested sequences (when useful), and the ability to import projects from another workstation and access sequences from them. Those features are all in the Adobe literature. We are working on two such documentaries with very tight deadlines and have hit the same wall as others. We’ve tried to manage our assets reasonably well, and are now deleting sequences and avoiding any use of the offending features while keeping an eye on Task Manager (thanks for the tip), but we’re still in a jam. At some point, when you are unable to use the features that would otherwise make Production Studio great, or even manage the basics without crashing, you begin to think about other solutions. I’m afraid we’re in agreement with Pat. If 3.0 doesn’t address these issues and soon (how about NAB?), then we’re looking for another vendor. Furthermore, I don’t give a rat’s “a” about Premiere on the Mac. I need Production Studio to work well on the Wintel boxes it was designed and marketed for.

[Timothy Eaton]

Thanks Redgum. I’ll give it a try.

[Timothy Eaton]

Thanks Tim. Very helpful.