Adobe Premiere CS6!

[Steve Hoeg]

Due to OS restrictions, 10-bit monitoring through DisplayPort is only available on Windows, but Premiere Pro has supported greater than 8-bit monitoring through third party solutions on both platforms for quite a few releases now.
--Steve Hoeg, Adobe Systems

 

[David McGavran]

Due to OS restrictions, 10-bit monitoring through DisplayPort is only available on Windows, but Premiere Pro has supported greater than 8-bit monitoring through third party solutions on both platforms for quite a few releases now.
--Steve Hoeg, Adobe Systems

FYI, Steve is engineering lead on Premiere Pro and one of the engineers on Mercury Transmit and Mercury Playback engine. I asked him to personally respond here so that you got it right from the horses mouth. Whereas I mostly manage these days without much programming, Steve still spends all day (and night) making Premiere do what you want/need so go easy on him You only get a little bit of his time.

Cheers

Dave

 

[Sven Seynaeve]

I'm a bit confused about the S3D functionality through the entire range, could someone from adobe give us a little confirmation, whether it's possible or doable to use premiere for editing and finishing via speedgrade for this.

is it still necessary to use something like cineform to have stereo monitoring in premiere, or is it a better workflow cutting 1 eye and conforming second in speedgrade????? I think I saw a stereo function somewhere in AE, but could not find any more info on it???

so any suggestions or specific details are very welcome. thx

 

[Johnny Friday]

Due to OS restrictions, 10-bit monitoring through DisplayPort is only available on Windows, but Premiere Pro has supported greater than 8-bit monitoring through third party solutions on both platforms for quite a few releases now.
--Steve Hoeg, Adobe Systems

Finally, the horse! Steve, so does this mean that with cs 6 (ON A MAC) using third party: matrox MXO2 or Black Magic I/O connections....we CAN get 10 bit signal on the Preview monitor then? In fact i was talking to Matrox only a few months ago and they could not give me a definitive answer....then only last month i was told that in fact NO...it's only 8 bit on Cs5.5 --- So for all of us using third party devices (i only named a few of course)....we can expect 10 bit signal then? Lastly---how do we know we are monitoring in 10 bit?---as in FCP we get to choose.....
--ok, last one....then using Quadra 4000, we CAN or CANNOT get a 10bit signal out with display port?
....Post 1 for you Steve--hope to see many more!! thanks

 

[Don V. Stephens III]

Thanks for taking the time to chime in, Steve.

 

[Steve Hoeg]

I'm a bit confused about the S3D functionality through the entire range, could someone from adobe give us a little confirmation, whether it's possible or doable to use premiere for editing and finishing via speedgrade for this.

is it still necessary to use something like cineform to have stereo monitoring in premiere, or is it a better workflow cutting 1 eye and conforming second in speedgrade????? I think I saw a stereo function somewhere in AE, but could not find any more info on it???

so any suggestions or specific details are very welcome. thx

Sven - Premiere Pro CS6 does not natively include S3D editing capabilities. I would encourage you to take a look at SpeedGrade's capabilities:

http://tv.adobe.com/watch/cs6-creat...deo/stereoscopic-workflows-in-speedgrade-cs6/

 

[Shane Kelly]

Finally, the horse! Steve, so does this mean that with cs 6 (ON A MAC) using third party: matrox MXO2 or Black Magic I/O connections....we CAN get 10 bit signal on the Preview monitor then? In fact i was talking to Matrox only a few months ago and they could not give me a definitive answer....then only last month i was told that in fact NO...it's only 8 bit on Cs5.5 --- So for all of us using third party devices (i only named a few of course)....we can expect 10 bit signal then? Lastly---how do we know we are monitoring in 10 bit?---as in FCP we get to choose.....
--ok, last one....then using Quadra 4000, we CAN or CANNOT get a 10bit signal out with display port?
....Post 1 for you Steve--hope to see many more!! thanks

Looks like aja is addressing this http://www.aja.com/en/products/t-tap/#/overview
quote:
"The power of Io XT

Based on the same architecture as AJA's Io XT Thunderbolt™ I/O, T-TAP offers full 10-bit broadcast-quality output. 10-bit quality is far superior to DisplayPort adapters that only support 8-bit and are not true video output solutions for professional applications."

 

[Lin]

I'm a bit confused about the S3D functionality through the entire range, could someone from adobe give us a little confirmation, whether it's possible or doable to use premiere for editing and finishing via speedgrade for this.

is it still necessary to use something like cineform to have stereo monitoring in premiere, or is it a better workflow cutting 1 eye and conforming second in speedgrade????? I think I saw a stereo function somewhere in AE, but could not find any more info on it???

so any suggestions or specific details are very welcome. thx

Sven, Dave McGavran can answer more questions about the editing workflow, but here's how people have done it in the past with Premiere and SpeedGrade.

Depending on your workflow, you can either start with simply a left eye edit, then export an EDL. When you conform in SpeedGrade, we will automatically detect the other eye and create a stereo timeline.

You can then use the SpeedGrade tools to correct for mirror, temporal offset, then move on to either automatic or manual correction of alignment and colorimetry. SpeedGrade has very powerful tools to do that.

You can then move on to S3D sweetening in SpeedGrade, keyframing parallax movement to ease in and out of shots and make sure the depth of the main areas of interest doesn't jump around between shots.

As a last step you can use a floating window to mask any objects that are only visible in one eye.

Add color grading as desired, SpeedGrade automatically deals with both eyes in its S3D timeline, no need to copy grades between two tracks etc. you are natively in S3D space.

Final step is rendering to various formats.

If you want to preview the S3D in premiere during editing, I would recommend a proxy workflow. Editing without having the alignment and colorimetry not at least in the ballpark will cause the editor's eyes to pop, so you have to correct that first (and do a one light grade while you are at it). So here's what you do:

Add all your R3D clips to the SpeedGrade timeline (we have a nice "Add All" command for that. SpeedGrade will automatically detect the corresponding other eye).

Compensate for mirroring (you can default to mirrored if that what you usually have), temporal offset, automatically match geometry and colorimetry (one button press).

Add a one light grade to please the director.

Repeat for all clips.

Render out to an intermediate format like ProRes or DNxHD using the original filename and path name (easy to set up in Sg). Use the original timecode. Render to the interlaced Scanlines or Above Below S3D format, or whatever the S3D monitor of the editor understands.

Use the clips as offline clips in Premiere. Whenever you want to preview S3D, go to full screen mode and switch the S3D monitor to 3D.

Finish the edit, export EDL.

Reconform or reconnect to the original R3D clips in SpeedGrade (SpeedGrade automatically finds the footage even if you are using a different file type, it will also automatically find the other eye).

Do the final grading and S3D sweetening as described in the first scenario.

Render out, done.

Hope this helps,
Lin

 

[Steve Hoeg]

Finally, the horse! Steve, so does this mean that with cs 6 (ON A MAC) using third party: matrox MXO2 or Black Magic I/O connections....we CAN get 10 bit signal on the Preview monitor then? In fact i was talking to Matrox only a few months ago and they could not give me a definitive answer....then only last month i was told that in fact NO...it's only 8 bit on Cs5.5 --- So for all of us using third party devices (i only named a few of course)....we can expect 10 bit signal then? Lastly---how do we know we are monitoring in 10 bit?---as in FCP we get to choose.....
--ok, last one....then using Quadra 4000, we CAN or CANNOT get a 10bit signal out with display port?
....Post 1 for you Steve--hope to see many more!! thanks

Johnny - I cannot comment on any individual third party setup, but in CS5.5 10-bit monitoring has traditionally been accomplished by creating a 10-bit RGB or 10-bit YUV sequence in the third party's editing mode. In CS6 we have the new Mercury Transmit to allow external monitoring in native Adobe sequences and now most third parties will present these options on their transmit setup dialog. Also be sure to set the 'max bit depth' flag in your sequence settings. Since getting a 10-bit signal out requires the cooperation of many components (Premiere Pro, plugins, IO card, monitor, and everything in between) the most reliabe way to verify this is with a test pattern viewed on your final output. It is fairly easy to create a gradient that shows obvious banding in 8-bit but not 10-bit.

On Windows, with a Quadro 4000 connected via DisplayPort to a capable monitor we will display in 10-bit without requiring any other hardware. This must be connected directly to the monitor without any adaptors in between.

 

[Craig Parkes]

Johnny - I cannot comment on any individual third party setup, but in CS5.5 10-bit monitoring has traditionally been accomplished by creating a 10-bit RGB or 10-bit YUV sequence in the third party's editing mode. In CS6 we have the new Mercury Transmit to allow external monitoring in native Adobe sequences and now most third parties will present these options on their transmit setup dialog. Also be sure to set the 'max bit depth' flag in your sequence settings. Since getting a 10-bit signal out requires the cooperation of many components (Premiere Pro, plugins, IO card, monitor, and everything in between) the most reliabe way to verify this is with a test pattern viewed on your final output. It is fairly easy to create a gradient that shows obvious banding in 8-bit but not 10-bit.

Sounds like Mercury Transmit will solve the workflow limitations of RED footage and third party cards I was earlier concerned with. New you guys would crack it, glad to hear that I wasn't spreading FUD, super excited to try out CS6 once third party support for Mercury Transmit is all announced.

 

[scott william]

Hi David (Adobe guy)

You mentioned in this thread you are working on getting the RCX alchemy options in CS6, but that seems a little ways away as you also said you are busy making RC3 /RG3 working first. Just wondering if speed grade has similar tools to alchemy's clarity, alchemy, and film grain?

I've pre ordered CS6 alreadty. very excited about the release.

 

[Olivier Madar]

I was very happy with RC2/RG2. But today, I see the R3D first in RCX in RC3/RG3 then in Adobe in RC2/RG2, and I have to say I always prefer te RC3/RG3 version. So, Adobe's guy are right to work on that.
I would like to say again "tank you" fo the Epic/scarlett sound. My workflow with R3D Premiere CS 55 and a simple macbook pro is so easy now !!

Olivier