|
5770 is probably too long in the tooth. My 6970 works okay in Premiere CC and okay in Resolve, but I've definitely seen i5 systems outperform mine on the account of a better GPU.
|
#
?
Aug 20, 2014 04:51
|
|
|
|
| # ? May 11, 2024 15:06 |
|
|
You can always add extra cards into the Cuda_Devices.txt in Premiere if your card doesn't show up. You have to do this for every application, such as AME and so on.
|
|
#
?
Aug 20, 2014 05:02
|
|
|
Yeah but there's no guarantee that the card won't cause your system to kernel panic if it's not on the supported list.
|
|
#
?
Aug 20, 2014 05:04
|
|
|
Oh yeah, if you do something like force an 8800GTX to run, which I have, that will cause Premiere to crash simply from scrubbing. The CUDA list works enough as a rough guide. I have a budget GT640 that does the job fine - that's kind of the lowest I can suspect you can go. However that's just in Premiere/AME - don't really think about running After Effects raytracing on that. Though some laptop graphics take advantage of shared RAM to compensate fairy well - but you tend to need 12gb or over to compensate.
|
|
#
?
Aug 20, 2014 05:48
|
|
|
Back in the CS6 days I could regularly get it to crash on an AMD 6970m despite older Macbook cards being supported. CC seems to be more stable though - haven't had a kernel panic in forever.
|
|
#
?
Aug 20, 2014 05:53
|
|
|
What I meant by 'tracks' in FCPX, if I put something in a track, I expect it to stay there. Things being on specific tracks is how I communicate with editors, get a sense of what is happening in certain scenes, etc... I always put music, VO, production audio on certain tracks. I can look at a glance and see if something is in a specific track, it means something. FCPX's magnetic timeline takes that away, and that is a deal breaker. About Editing in Resolve: I use resolve every day as a colorist and online editor. You don't want to be editing in Resolve unless you have a top of the line MacPro, or a very beefy PC with a fast drive array. Maybe a top of the line iMac. It does everything in real-time and floating point. It's fine as a DIT station on a laptop, but not to be editing realtime. That said, the trim tools, the search tools, the way keyframing works, it's all *very* cool. However, not being able to have multiple timelines or folders open at once might be a deal breaker for some editors. I don't round trip to FCP / AVID / Premiere anymore if I can help it... I finish in resolve.
|
|
#
?
Aug 20, 2014 21:37
|
|
|
Clip > Create Storyline (command-G) does exactly what you're talking about
|
|
#
?
Aug 20, 2014 21:56
|
|
|
todieat20 posted:I have a question about computers. I’ve been freelance editing for awhile now but my machine is an old 2006 MacPro 32bit machine. I keep putting off this upgrade because it still works, but I think it’s time to get a new machine due to most new software won’t run on the machine. If you're going to go Premiere or Avid building a PC for isn't bad if you're working by yourself. The problem you'll run into is that ProRes has become a standard way of delivering files for some people and if you are on PC outputting pro-res is a pain. If money is no object I've heard great things about the HP Z800 workstations. The 27" iMac with the best GPU is what I recommend for Premiere people who want to stay mac or FCPX preditors. It's a nice all in one solution. For Avid? I've seen people run Avid on a MacBook Air, so you'll be fine no matter what you get (within reason). If you're staying on FCP7, (and in a lot of other software actually) clock speed is more important than # of cores, and RAM doesn't matter (FCP7 can't use more than 2.5gb of ram). If you're used to working on 2006 Mac Pro, I'd wager you wouldn't notice a difference between a good iMac and the top mac pro. That's what's weird about the trashcan, for most editors it's overkill, but for compositors, colorists & vfx, it's sometimes not enough, and not expandable.
|
|
#
?
Aug 20, 2014 21:58
|
|
|
Armagnac posted:If you're going to go Premiere or Avid building a PC for isn't bad if you're working by yourself. The problem you'll run into is that ProRes has become a standard way of delivering files for some people and if you are on PC outputting pro-res is a pain. If money is no object I've heard great things about the HP Z800 workstations. At my old job we ran 5 HP Z800 workstations and they ran Avid like a champ! But you are right about ProRes becoming a standard way of delivering. We always had to export from a Mac for those deliveries. I have ran Avid on a Macbook Air and it does work, but it does start to slow down once you add too many effects. I'm thinking the iMac with the highest specs is the way to go. I would just need to start working out hard drive solutions and a new monitor/capture device.
|
|
#
?
Aug 20, 2014 22:48
|
|
|
Just finished doing the Premiere Pro tutorial. I am the master of eagle documentaries.
|
|
#
?
Aug 24, 2014 08:57
|
|
|
todieat20 posted:I would just need to start working out hard drive solutions and a new monitor/capture device. Just don't go with a Drobo, those things are garbage, then again, I don't really like the Promise Pegasus as well... I was going to try the cineraids next. If you're not doing outputs to and from tape, I recommend just getting BMD Mini-monitor and whatever flanders you can afford for accurate colors.
|
|
#
?
Aug 26, 2014 15:05
|
|
|
Has anybody exported WebM here? We're exporting from Premiere/After Effects and simply CANNOT get it to replicate a pure white (or even near it). No other codec has a problem, but using the WebM container gives the pure white a very dingy gray look. Any ideas?
|
|
#
?
Aug 26, 2014 16:27
|
|
|
Premiere still requires a third party plug-in for WebM right? I've been using Telestream Episode Pro and haven't noticed any issues with that particular codec.
|
|
#
?
Aug 26, 2014 18:14
|
|
|
Just finished a documentary I shot in Ferguson right after the Mike Brown killing. It's rough but that's because I aimed to get it out into the news cycle rather than clean it up more. https://www.youtube.com/watch?v=G1sdBPVzQpI FERGUSON: No Justice, No Peace
|
|
#
?
Aug 26, 2014 20:43
|
|
|
^  I ran into a weird problem with Premiere the other day that I was unable to fix. When I was trying to drag clips into a sequence it would only let me put it in specific spots on specific tracks. It would not let place it or adjust it to be past a certain arbitrary (as far as I know) point on the timeline. If I put it where it wanted to go and tried to move other clips to accommodate the problem ones they too would no longer move to spots where they had been fine before. I'm pretty sure the sequence settings were identical to the clips. Googling turned up only people that were having really basic problems like not creating a sequence at all. I haven't the slightest idea what's going on because the behavior makes no sense to me.
|
|
#
?
Aug 27, 2014 02:42
|
|
|
Armagnac posted:Just don't go with a Drobo, those things are garbage, then again, I don't really like the Promise Pegasus as well... I was going to try the cineraids next. I actually have a Drobo but I don't do any cutting off of it. I just use it for backup, and I have another online back up as well. I like to be extra careful. I know there is a lot of hate for Drobo's but I've never seemed to have a problem. Is it when people start using them as their media drive or do people just not like them in general? I've been looking at the Pegasus but I'll have to check out the cineraids. If only I could afford my own Avid ISIS system 
|
|
#
?
Aug 27, 2014 22:46
|
|
|
The Areca Thunderbolt RAIDs have been reliable for me so far. Config is a pain due to a dumb GUI and nonexistent documentation but the actual LCD and buttons can get you through initial config. Mine has been up for about 9 months and aside from a drive failure (which was subsequently rebuilt) it's been rock solid.
|
|
#
?
Aug 28, 2014 00:23
|
|
|
Yip Yips posted:I ran into a weird problem with Premiere the other day that I was unable to fix. But that was just an issue that affected just that project, not the program, so likely something tripped up when converting from CC to CC 14 or the file had gotten corrupted somewhere. Have you tried exporting the project as an XML, then import back into a fresh project?
|
|
#
?
Aug 28, 2014 00:32
|
|
|
Data Transfer Utilities. We shoot on RED and have used R3D Data Manager in the past (which is something like Double Data now). However we're building a PC based DIT machine for a client (that will be housed here and used on future shoots) and I need a Windows based file manager that can transfer to multiple drives at once as well as provide checksum verification. Hard to find something that has a PC client. Any ideas? edit: Any experience with ShotPut Pro? BonoMan fucked around with this message at 17:47 on Aug 28, 2014 |
|
#
?
Aug 28, 2014 17:43
|
|
|
BonoMan posted:Any ideas? Another alternative is Adobe prelude, however it's a bit more fiddly than shotput with setting up, but does copy check md5. However combined with AME you can set watch folders for semi automatic transcoding. Not sure if it can process red. Wrangler is another pc program I've seen costing about, just copies, but it seems pretty unknown.
|
|
#
?
Aug 29, 2014 01:14
|
|
|
WebDog posted:I have had one Premiere project go into the twilight zone and have all sorts of graphical corruptions in the timeline, fail to show layers or update moved clips and other weird things - I thought my graphics card had blown. I was just setting up the project file and importing clips when I ran into the problem so I didn't try exporting/importing it but I did try starting from scratch. I ended up not working on it but I was hoping I was just doing something stupid so if it happens again I'd know how to fix it. It was taken over by someone working in FCP and he had issues with the same files, albeit different issues. I'm not sure he was ever able to get it to work.
|
|
#
?
Aug 29, 2014 06:58
|
|
|
todieat20 posted:I actually have a Drobo but I don't do any cutting off of it. I just use it for backup, and I have another online back up as well. I like to be extra careful. I know there is a lot of hate for Drobo's but I've never seemed to have a problem. Is it when people start using them as their media drive or do people just not like them in general? I've seen a single drive fail on a drobo and the whole thing go down. The 'rebuild' didn't work, and we lost all the data on it. It would act fine and then just crash and eject itself. Thankfully we had everything backed up, as the drobo itself was just a backup but at this point I would feel safer with the data on a single drive than on a drobo. BonoMan posted:Data Transfer Utilities. We shoot on RED and have used R3D Data Manager in the past (which is something like Double Data now). However we're building a PC based DIT machine for a client (that will be housed here and used on future shoots) and I need a Windows based file manager that can transfer to multiple drives at once as well as provide checksum verification. Hard to find something that has a PC client. You could try Resolve, it's got data back up (with checksums) functions built in now. So you can make your backups and make dailies at once. Be Careful and make sure your metadata is getting through though, you have to make sure your settings are all right.
|
|
#
?
Aug 29, 2014 20:53
|
|
|
Armagnac posted:
Excellent thanks! We are getting Resolve for the machine. Probably gonna get shot put pro to just to compare but its nice to know Resolve does it.
|
|
#
?
Aug 30, 2014 00:56
|
|
|
So, SpeedGrade.... horribly designed unintuitive buggy piece of poo poo or is it just me? I just don't get its workflow at the moment. Should I even bother (since we have the CC 2014 suite) or just wait until we get Resolve in a few weeks? edit: yeahhh pretty much just gonna go for Resolve Lite right now. Way better. BonoMan fucked around with this message at 16:48 on Sep 2, 2014 |
|
#
?
Sep 2, 2014 14:55
|
|
|
BonoMan posted:So, SpeedGrade.... horribly designed unintuitive buggy piece of poo poo or is it just me? I just don't get its workflow at the moment. Should I even bother (since we have the CC 2014 suite) or just wait until we get Resolve in a few weeks? Did you teach yourself Resolve or is there a tutorial I can follow? I tried to pick it up with just the manual but I guess I'm getting old, because I couldn't do it. Lynda doesn't seem to have a course on it. Other question: when you send a render from AE to Media Encoder, has anyone else noticed that Media Encoder just locks up unless it's been opened already prior to sending the render? Just wondering if it's a normal thing, because it happens at home and on my work computer.
|
|
#
?
Sep 4, 2014 23:39
|
|
|
Look up Juan Melara's tutorial videos, he is really good about teaching not only the UI but also grading principles (nodes, keys, etc). Also Speedgrade is hot trash and Adobe really should kill it because it seems to function worse than Premiere plus a few layers of three way color corrector.
|
|
#
?
Sep 5, 2014 02:31
|
|
|
I hope this is the right thread for this, but I'm looking for intermediate video editing software recommendations for Windows, along the lines of Sony Movie Studio or Adobe Premier Elements. What would you guys recommend in the sub-$100 range? And I'm not all that attached to Adobe or Sony; however, the "best editing software" lists I find via Google don't have anything that look as usable as what Sony or Adobe offers. The last editing software I purchased was Sony Movie Studio HD 9 back in 2010. I looked to upgrade to the latest version since I get a discount for having 9, but apparently Sony ruined everything with their touchscreen-oriented Movie Studio Platinum 13 - reviews for it have been pretty harsh on it.
|
|
#
?
Sep 5, 2014 06:09
|
|
|
Has anyone here used Lightworks? Thoughts on switching to it for fairly simple projects? My alternative is paying for a CC license which I'd really rather not do.
|
|
#
?
Sep 5, 2014 07:47
|
|
|
Lightworks still requires a monthly fee to get the most mileage out of it, but for a reasonable mid-range prosumer product it does the job.
|
|
#
?
Sep 5, 2014 08:35
|
|
|
Cool, thanks.
|
|
#
?
Sep 5, 2014 17:56
|
|
|
Karthe posted:I hope this is the right thread for this, but I'm looking for intermediate video editing software recommendations for Windows, along the lines of Sony Movie Studio or Adobe Premier Elements. What would you guys recommend in the sub-$100 range? And I'm not all that attached to Adobe or Sony; however, the "best editing software" lists I find via Google don't have anything that look as usable as what Sony or Adobe offers. Have you tried Davinci Resolve Lite 11? It's free and fairly robust as an editor.
|
|
#
?
Sep 5, 2014 18:08
|
|
|
Karthe posted:I hope this is the right thread for this, but I'm looking for intermediate video editing software recommendations for Windows, along the lines of Sony Movie Studio or Adobe Premier Elements. What would you guys recommend in the sub-$100 range? And I'm not all that attached to Adobe or Sony; however, the "best editing software" lists I find via Google don't have anything that look as usable as what Sony or Adobe offers. I did a month trial on Movie Studio, Power Director and Corel Video Studio before settling on Corel. I found it more intuitive once you get the thought process behind the UI and it comes with a buttload of effects, transitions, graphics, etc.; plus some auto fixes and presets missing in the others. Sony had a few nice features but editing took a lot longer than Corel. Power Director is similiar to Sony but is a major resource hog and was very unstable. PD also had a save bug that pretended to save but didn't so I lost a lot of work when it crashed. Each had benefits over the others but Corel works best for me. I did nt try elements but have used an older version of premiere. Download the trials and check them out.
|
|
#
?
Sep 5, 2014 18:54
|
|
|
Jesus christ guys if you need a feature mixed in 5.1 or LCR for DCP tell your mixer before a stereo mix is finalized. ugh.
|
|
#
?
Sep 5, 2014 18:57
|
|
|
wormil posted:I did a month trial on Movie Studio, Power Director and Corel Video Studio before settling on Corel. I found it more intuitive once you get the thought process behind the UI and it comes with a buttload of effects, transitions, graphics, etc.; plus some auto fixes and presets missing in the others. Sony had a few nice features but editing took a lot longer than Corel. Power Director is similiar to Sony but is a major resource hog and was very unstable. PD also had a save bug that pretended to save but didn't so I lost a lot of work when it crashed. Each had benefits over the others but Corel works best for me. I did nt try elements but have used an older version of premiere. Download the trials and check them out. 
|
|
#
?
Sep 5, 2014 20:04
|
|
|
Does anyone here use tape based backup? I'm looking at M-Logic's thunderbolt LTO-6 drive and want to find some kind of software to manage the archival process. I've used Retrospect on windows so the Mac version of that was my first choice, but wanted to see if there was anything else that might work better since I only care about backing up one big array and am not trying to setup backups for a whole group of systems. In my ideal world I'd rotate two sets of tapes, keeping one offsite and one onsite, and be able to just write new files to a single tape instead of reading out the whole archive every time. To give some background, here's what I want to do: Right now we have roughly 15 TB of files spread across 9 drives. Each drive has a clone and that's it for backup. It's incredibly tedious to maintain backups or even find the file you're looking for unless it's a new project on the most recently purchased drive. I'd like to put all that bulk storage on a 24tb 12 bay NAS and then repurpose those 9 drives for directly attached, fast storage on projects that we're currently working on. We'd use the tape drive to make a backup of the array, and then once a project reaches a certain age, I'd like to have it only on tape and remove it from the array.
|
|
#
?
Sep 9, 2014 20:27
|
|
|
powderific posted:Does anyone here use tape based backup? I'm looking at M-Logic's thunderbolt LTO-6 drive and want to find some kind of software to manage the archival process. I've used Retrospect on windows so the Mac version of that was my first choice, but wanted to see if there was anything else that might work better since I only care about backing up one big array and am not trying to setup backups for a whole group of systems. In my ideal world I'd rotate two sets of tapes, keeping one offsite and one onsite, and be able to just write new files to a single tape instead of reading out the whole archive every time. http://www.barracudaware.com/downloads/request/server-backup We're just about to start using a trial of this. Although it's expensive as poo poo. Our need is similar to yours. We have an LTO-6 tape drive that we just bought (mini-sas not TBolt) and are using it to simply backup one 16TB array. I'm going to try the built in HP LTFS program that came with the tape drive though and see if that will suffice.
|
|
#
?
Sep 9, 2014 23:22
|
|
|
BonoMan posted:Has anybody exported WebM here? We're exporting from Premiere/After Effects and simply CANNOT get it to replicate a pure white (or even near it). No other codec has a problem, but using the WebM container gives the pure white a very dingy gray look. Any ideas? So as a follow up to this, we discovered in the office that any computer with a GeForce line card renders the WebM videos dingy gray. Any AMD based or Quadro line card renders the white as the pure white it's supposed to be. What the hell?
|
|
#
?
Sep 11, 2014 15:40
|
|
|
Does anyone have a decent r3d offline editing workflow they'd care to share?
|
|
#
?
Sep 12, 2014 07:22
|
|
|
I typically don't offline edit Red anymore because even my 2011 iMac can get by at 1/8 in FCPX and I can finish in Resolve, but you can generate proxies in Resolve, export an XML, import into FCPX or Premiere and edit, then export an XML back and relink to the originals.
|
|
#
?
Sep 12, 2014 07:31
|
|
|
|
| # ? May 11, 2024 15:06 |
|
|
Has anyone ever heard of a BDCM file in regards to blu-ray authoring? We've had a distribution house demand it as their deliverable but I cannot for the life of me find anything relating to that name, and every person in the post house I'm freelancing at currently (which is a relatively well-known west coast post house) has no idea what it is. They won't accept a physical blu-ray, nor a disc image of said Blu Ray. I thought maybe they just wanted the BDMV file structure on a drive, but apparently that's not it either. The company is being completely unhelpful, and any requests for clarification have been met with "you guys should know what this is" and that their IT department "doesn't interface with clients." I dunno. I'm at a loss, any help? RaoulDuke12 fucked around with this message at 03:55 on Sep 14, 2014 |
|
#
?
Sep 14, 2014 01:30
|
|