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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Adobe support...

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obin said:
Hey Rob, what is the idea on how your dealing with feeding Adobe apps 4k raw footage?
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Not sure I'm following.... but whatever it is you'll have all the answers you'll need sometime next week.
 
A lot of people doesn't seem to be aware that the only thing Premiere Pro shares with the old Premiere from the 90's is part of the name. Premiere Pro was written to be released in 2004. The code is much more up to date than FCP (written in -95/96). In fact - Premiere Pro is the ONLY NLE on the Mac that runs natively in OSX. FCP's source dates back well before the introduction of OSX and a massive rewrite would be called for to bring it up to Premiere Pro specs really.

Premiere Pro is THE most advanced and modern NLE available on the market in terms of the stuff it handles natively. It's been written to handle image sequences natively - and it amazes me the VFX industry hasn't embraces this as it's been whining ever since Discreet killed Edit in the mid 90's about the lack of sequences in NLE's.

I'm not intending to start a war of any kind but it's an undisputable fact that Premiere Pro was written for the computer age we're in right now and both FCP and Avid are getting old fast.

I work as a work flow wizard using RED and when I started that I had to go back from a few years using mainly Premiere Pro back to FCP - I've been using both heavily. Going from a daily work flow using Premiere Pro back to FCP feels like going back in time eight years.

THE most powerful feature of Premiere Pro is the copy/paste function from Premiere Pro's timeline into After Effects and rendering eight or sixteen cores with 2GB RAM per core memory allocation in Vista 64. So far that's the most powerful and fast rendering experience I've had in any post environment. Ad to that a really powerful GPU and it get's even more fun. Using 3rd party you can do that as a background task for even faster post work. And you're never tied to QuickTime - which is a wonderful thing. And if you want to add render nodes you can get powerful boxes with noting more than a gigabit board, ram and a fast CPU at a price simply not available running OSX. Great for 32bpc work.
 
Well seeing as how you will not have luck getting playback of 4k raw files, how are you scaling - or? pulling proxy resolution out or what? just wondering how it's done because I am so excited about a solution I can't stay off here!!

I hope you can understand Rob ;) :) :)
 
I hope you have some type of "fullscreen" out for using a plasma or projector to edit by like in a normal premiere project.
 
Munthe said:
A lot of people doesn't seem to be aware that the only thing Premiere Pro shares with the old Premiere from the 90's is part of the name. Premiere Pro was written to be released in 2004. The code is much more up to date than FCP (written in -95/96). In fact - Premiere Pro is the ONLY NLE on the Mac that runs natively in OSX. FCP's source dates back well before the introduction of OSX and a massive rewrite would be called for to bring it up to Premiere Pro specs really.

Premiere Pro is THE most advanced and modern NLE available on the market in terms of the stuff it handles natively. It's been written to handle image sequences natively - and it amazes me the VFX industry hasn't embraces this as it's been whining ever since Discreet killed Edit in the mid 90's about the lack of sequences in NLE's.

I'm not intending to start a war of any kind but it's an undisputable fact that Premiere Pro was written for the computer age we're in right now and both FCP and Avid are getting old fast.

I work as a work flow wizard using RED and when I started that I had to go back from a few years using mainly Premiere Pro back to FCP - I've been using both heavily. Going from a daily work flow using Premiere Pro back to FCP feels like going back in time eight years.

THE most powerful feature of Premiere Pro is the copy/paste function from Premiere Pro's timeline into After Effects and rendering eight or sixteen cores with 2GB RAM per core memory allocation in Vista 64. So far that's the most powerful and fast rendering experience I've had in any post environment. Ad to that a really powerful GPU and it get's even more fun. Using 3rd party you can do that as a background task for even faster post work. And you're never tied to QuickTime - which is a wonderful thing. And if you want to add render nodes you can get powerful boxes with noting more than a gigabit board, ram and a fast CPU at a price simply not available running OSX. Great for 32bpc work.
Click to expand...



word.

It's why I stay away from FCP, tried it, had less features then Premiere, ditched it, tried it again, felt like it was the same version as first try, ditched it. tried it a 3rd time for editing RED. hated it. am still a Premiere freak. It works for me better then most things, and works better then most with other apps. Need some really slick Color time Adobe app though for RED, Premiere will not and I repeat WILL NOT cut it for color.


Rob and Gang, if I wanted one thing after the abbility to Import Cut and Export finished projects in Cs3 with RED it would be a high quality RGB curve inside the editor for a "onelight" in realtime while editing, I don't care if it's perfect or "online" quality but enough to get a "proxytime" <---a new word? Anyway, a proxytime would really be a huge help to see past "raw" flat look.

oh, and EDL support for RedCine from Cs3 :) :)
 
obin said:
Prospect comes with hardware, well worth the price.

at this very moment I am cutting 1080p with HDSDI to a plasma, off the timeline, footage is on a SAN with consumer drives, and a consumer gigabit network. Can't beat it.

What I am doing(and do every day of the week) used to cost upwards of $60,000

The Camera is a bargain, post is a bargain, it's all about the workflow now and maintaining quality from capture to final master. As in photography, desktop publishing, and music, cost is not going to be the issue in the near future, artist, workflow, and finished quality will be.
Click to expand...

What hardware does Prospect 4K come with? To allow you to preview out to a monitor I hope?
 
sempko said:
What hardware does Prospect 4K come with? To allow you to preview out to a monitor I hope?
Click to expand...

I think he meant hardware suppport... like being able to use Prospect with the Xena card.

-Thor
 
obin said:
word.

It's why I stay away from FCP, tried it, had less features then Premiere, ditched it, tried it again, felt like it was the same version as first try, ditched it. tried it a 3rd time for editing RED. hated it. am still a Premiere freak. It works for me better then most things, and works better then most with other apps. Need some really slick Color time Adobe app though for RED, Premiere will not and I repeat WILL NOT cut it for color.


Rob and Gang, if I wanted one thing after the abbility to Import Cut and Export finished projects in Cs3 with RED it would be a high quality RGB curve inside the editor for a "onelight" in realtime while editing, I don't care if it's perfect or "online" quality but enough to get a "proxytime" <---a new word? Anyway, a proxytime would really be a huge help to see past "raw" flat look.

oh, and EDL support for RedCine from Cs3 :) :)
Click to expand...

After Effects does that for me. Copy/Paste. Or simply just open Premiere Pro projects in After Effects. If the regular "Photoshop on wheels" tools in AE doesn't do it for you there are a lot of rich 3rd party plugins like Magic Bullet Looks adds even more grading options. Magic Bullet Looks is also available for Premiere Pro.
 
Thor Wixom said:
I think he meant hardware suppport... like being able to use Prospect with the Xena card.

-Thor
Click to expand...

Matrox Pharelia for monitor previews is a good and working option. Cineform is based on using the GPU so I don't see a point in using anything other than GPU for output. PNY has a GPU solution for Premiere Pro as well.
 
Rob Lohman said:
....
We're also not done yet feature wise (there will be many and frequent updates to the Adobe integration) so we'll need to grow in that area too.

But we're extremely excited to bring this new workflow to our customers. We understand that it's been a while coming and we appreciate the patience.

It's going to be an incredible year and wait till you find out what's in store for next year :)
Click to expand...

Any chance you`ll be replacing the premiere rendering engine Cineform style ? A Redcode/debayer acceleration card? A hover board? :)
 
Munthe said:
Matrox Pharelia for monitor previews is a good and working option. Cineform is based on using the GPU so I don't see a point in using anything other than GPU for output. PNY has a GPU solution for Premiere Pro as well.
Click to expand...

Cineform can use the GPU or graphics card for output to a monitor (not pure video though, unless you're using a Xena card and not the GPU), but it uses the CPU for all it's processing. It's not taxing the GPU for processing, only for display.

-Thor
 
obin said:
Prospect comes with hardware, well worth the price.

at this very moment I am cutting 1080p with HDSDI to a plasma, off the timeline, footage is on a SAN with consumer drives, and a consumer gigabit network. Can't beat it.

What I am doing(and do every day of the week) used to cost upwards of $60,000

The Camera is a bargain, post is a bargain, it's all about the workflow now and maintaining quality from capture to final master. As in photography, desktop publishing, and music, cost is not going to be the issue in the near future, artist, workflow, and finished quality will be.
Click to expand...

What hardware does Prospect come with?
 
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