Avid MXF and premiere CS6

Hello,
I wish you can give me a little assistance.
My archive is made by OMF files and MXF files created with Avid Express Pro and Media composer 5.5.
I know that MXF file from Avid are made of 2 different clips for audio and video so can the new CS6 version of Premiere import such files without recoding them?
That's because I want to digitize the rest of my videotapes in one format to share with different NLE including premiere.
Thank you for helping
Angelo

Greg -
Greg Baber wrote:
We have been forthcoming with the idea that there is a issue with spanned footage. We do not have a timeline for the fix yet, and we will make it public when we are able to fix the issue.
I share the frustrations folks have with AVCHD editing in CS6; I know mine is due to the spanned clip issue. It's highly frustrating to have spent good money on CS6 only to not be able to use it at all. I'm forced to stick with CS5.5 which is fine, but I'd really like to use the new software without transcoding/converting my AVCHD footage.
The "we don't have a timeline yet" answer isn't going to hold water much longer. I understand software development isn't easy, but you've known about this since around the time CS6 was released and there hasn't been any visible movement on it yet.
Figure this out quickly, please. I'm not going to buy CS6.5 when it's released unless this is fixed before that.
Thanks.
jas

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Here's an extract:
12/19/14 07:11:50:073 | [FATAL] | | OOBE | DE | | | | 33680 | Payload 'Adobe Media Encoder CC 2014_8.0.1_AdobeMediaEncoder8AllTrial 8.0.0.22 {843B3BFA-BA88-4788-856E-1289F0846449}' information not found in Media_db.
12/19/14 07:11:50:074 | [INFO] | | OOBE | DE | | | | 33680 | :: END TIMER :: [Total Timer] took 750.765 milliseconds (0.750765 seconds) DTR = 255.739 KBPS (0.249745 MBPS)
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12/19/14 07:11:51:075 | [INFO] | | OOBE | DE | | | | 33680 | - 1 fatal error(s), 0 error(s)
12/19/14 07:11:51:075 | [INFO] | | OOBE | DE | | | | 33680 | Win OS version: 6.2.0.0 64 bit Type: 1
12/19/14 07:11:51:075 | [INFO] | | OOBE | DE | | | | 33680 |
12/19/14 07:11:51:075 | [INFO] | | OOBE | DE | | | | 33680 | FATAL: Payload 'Adobe Media Encoder CC 2014_8.0.1_AdobeMediaEncoder8AllTrial 8.0.0.22 {843B3BFA-BA88-4788-856E-1289F0846449}' information not found in Media_db.
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12/19/14 07:11:51:075 | [INFO] | | OOBE | DE | | | | 33680 | Please search the above error string(s) to find when the error occurred.
12/19/14 07:11:51:075 | [INFO] | | OOBE | DE | | | | 33680 | These errors resulted in installer Exit Code mentioned below.
I'd attach the file but don't see how to do that in a reply.
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After over 12 years as an Avid editor (now on MC 6.5) I decided to switch to Adobe Premiere CS6 because I have a music documentary to edit with over 300 hours of material shot on AVCHD. Avid still hasn't conquered the AVCHD problem (although it's getting better) and I thought Adobe had. I've spent a lot of money making this switch only to discover that Premiere plays back slow and has lots of problems with AVCHD. When is Adobe going to fix this? I'm scared my only solution is to sale my wonderful MacPro (16 gig, NVIDIA 4000 card) and use Sony Vegas which doesn't have any problems with AVCHD. If the Adobe fix is only days away, I can wait. If not, I've really got to go to Sony.
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Greg -
Greg Baber wrote:
We have been forthcoming with the idea that there is a issue with spanned footage. We do not have a timeline for the fix yet, and we will make it public when we are able to fix the issue.
I share the frustrations folks have with AVCHD editing in CS6; I know mine is due to the spanned clip issue. It's highly frustrating to have spent good money on CS6 only to not be able to use it at all. I'm forced to stick with CS5.5 which is fine, but I'd really like to use the new software without transcoding/converting my AVCHD footage.
The "we don't have a timeline yet" answer isn't going to hold water much longer. I understand software development isn't easy, but you've known about this since around the time CS6 was released and there hasn't been any visible movement on it yet.
Figure this out quickly, please. I'm not going to buy CS6.5 when it's released unless this is fixed before that.
Thanks.
jas

Red Epic and Premiere CS6 workflow issues

Hello!
I'm looking for some advice or insight regarding working with RED footage in CS6.
In the past, I've worked with native RED footage on CS5.5 with no hiccups whatsoever. I'm not sure if it's CS6 or my computer's processing power, but RED footage has become uneditable for me.
After I updated to Yosemite, I began experiencing problems with being unable to import RED Epic footage due to "unsupported or corrupt files," and when I tried to fix the problem with the Adobe Labs plugins, it reported a "generic importer failure."
I then uninstalled and re-downloaded CS6, and now I can get footage into my project, but I can get no playback at all! Both the source and program monitors remain frozen on a frame and then have the yellow "Media Pending" screen. When I attempt to render a clip in my timeline (RED HD 4K 23.58 sequence) I get an "error compiling movie" box. I've tried other sequence settings, but still no dice.
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Hi Hannah,
I see you posted on Creative Cow too: CreativeCOW
Update to the most recent version of CS6.
Make sure your GPU has more than 768 VRAM.
Try a previously installed version of OS X.
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I'm in commercial editing and work as offline editor, assistant editor and compositor. I've been using Premiere Pro ever since FCPX came out, but not in the workplace as an offline tool because of certain major missing features:
- a good EDL exporter (absolutely essential in a commercial pipeline where we're bouncing sequences to grading suites and Flame all the time)
- dupe detection (essential for prepping sequences for grading)
- timecode overlays in the monitors
- colored markers
- marker overlays (to quickly see what the content of a marker is when scrubbing in the timeline)
- searchable markers (great when needing to find one line you know you had marked)
- a visual keyboard settings editor (FCP and Avid got it right, Premiere is a mess, although improved from CS5 which didn't have the ability to search for commands)
- the ability to rename clips to match file names (can't tell you how many times I use this in FCP)
- use of CMD X, C and V for cutting, copying and pasting marked selections in the timeline without adding in/out points
- match frame edit indicators
- heal match frame edit function
- timeline to timeline editing. Not expecting what Avid offers, which is enhanced by the ability to toggle your timeline between source and record, but to be able to do what FCP7 does by letting you edit with clip data, i.e. edit your track layout and edit points from a sequence in the viewer into the timeline.
I'm super disappointed that not a single one of the above features has been addressed in Premiere Pro CS6. I think the dupe detection, timecode overlays, and EDL export are the biggest disappointments.
For a little clarity on the EDL issue, every editor and assistant I know renames clips after they're imported into the project. They don't use the "Scene" and "Take" metadata tags, because they want the clip name on the far left of the project window. This isn't so much of an issue in Avid, but that software is on a different level. Anyways, in Premiere, once you rename a clip, that's the way the clip name is going to come out out in the EDL. This is a massive problem for Alexa and RED jobs, which is most of what I work with, because timecode isn't going to be unique to a clip on a multi-day, multi-cam shoot. In FCP7, you have the option to export your EDL with either clip or file names. Alternatively, you can select all the clips from your edit and choose "Rename Clip to Match File Name." Premiere has none of these options. The only workaround is to go through every clip in your edit, reveal in project, bring up the properties, copy the file name that's there, then paste into the clip name. This is not a workable solution for a 60 second commercial with an edit every 12-48 frames.
While Speedgrade is lovely, no one is going to convince Company 3, The Mill, MPC, Light Iron, or New Hat to switch from Resolve, Scratch, Baselight or Pablo. And to get stuff into those systems, EDLs are still the preferred method when you talk to the assistants who are loading the projects.
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With the exception of the playback control, though, I would trade all of the above improvements to have the hit list above taken care of. Adobe seems to have added some very good big picture, high profile improvements. It's the little things that you encounter every day in a long edit that really need some attention now. PLEASE give a look to this stuff.
I had really hoped I'd be able to use PP CS6 as an offline tool in my pipeline, but that's not going to happen. Nor do I know any editors or assistants in commercial post in LA who will want to work without the above features.
If anyone has some insights into the above features and maybe making these things work in CS6 as currently released, I'm open to hearing them and hopeful that there are workarounds.
Thanks and have a blessed day!

The command copy, cut paste don't work unless you add edits to create a
discreet clip. You can't simply copy from an in to an out point. The
workaround is to add your markers, use lift or extract, undo to clear the
damage you just did to your sequence, then paste the clipboard contents
that you still have from the lift or extract operation.
Regarding Speedgrade, it appears to be in its infancy and has a promising
future, but what you get for free from Davinci Resolve Lite is wildly
awesome. It does everything the $1000 version of DaVinci does except
stereoscopic color, network rendering, shared projects, and shared memories
between projects (i.e. power mastering). So, for free, you have a blazing
fast color grade suite with the identical toolset actively in use by
Company 3 and The Mill. Add a panel or two and you're really rockin and
rolling. We use it at the shop I'm freelancing at now and it can burn
through dailies transcodes (still essential for Red and Alexa), at about
40fps. Awesome.
I think choosing between Avid MC and Premiere is strictly a "what do you
need it for" question. The main problem with Avid is now and always has
been the hard import aspect. AMA works kinda ok, but I know no one who
starts and finishes a project strictly with AMA. Plus it doesn't work on
an average laptop without a lot of herky jerky playback, even at 10:1, and
at some point on a long edit, you're likely going to be working off a
laptop.
The ability of Premiere to ingest ANYTHING immediately, including DPX
sequences, is phenomenal. If you don't want to wait for AJA, Blackmagic
has some excellent and more affordable video I/O solutions that work with
CS6 right now. The playback is so much better than CS5.5. I think the
reason why it was a problem before was because it's trying to play nice
with anything as it is. FCP needed everything to be a quicktime. Avid
needs everything to be MXF. Premiere says "come one come all!" and that's
a tall, tall order. Now it's working great and the Adobe folks should be
lauded for whatever engineering magic they used to make this happen. Huge
timesaver, especially in finishing when I need to bounce more complex comp
work to Nuke and back.
The second thing that Premiere kills at is effects work, even though it's
not so much Premiere as it is After Effects. Avid has nothing there close
to this. Animatte? Spectramatte? Give me After Effects any day. So, you
can offline AND online a project with the Premiere and After Effects combo.
Awesome!
The biggest shortcoming Premiere has, I think, is it's audio filter suite.
It's a huge liability and something I hope they devote a lot of attention
to. The way Avid can't match the Premiere/After Effects duo,
Premiere/Soundbooth cannot match what Avid has built in. The Audiosuite
effects seemed to be designed to give you a bit of ProTools within your
NLE.
I think the best solution, at least until Smoke 2013 comes out this fall,
seems to be to choose the app that is best suited for your project. I
don't think the conversation should be about one program wiping out another
one, which it seemed to often be the tone of Avid vs. FCP debates.
The more I play with Premiere CS6, the more I like it. I used 5 and 5.5 on
commercials a few times and felt like the software was getting in the way,
particularly toward the end when I needed to generate EDLs and OMFs (I
haven't tried the OMF export out of Premiere CS6 yet, but it can't be worse
than 5.5 - my guess is it's no better though, based on what did and did not
get improved). It was fine for finishing, but you'd have to work around
playback issues all the time, which got a bit embarrassing with clients in
the room.
I think CS6, for it's numerous shortcomings - none of which are
catastrophic or deal-breakers - provides an excellent foundation on which
to build something that could definitely one day pick where FCP7 left off.
Smoke 2013 is the storm on the horizon, though, if you ask me. But
competition is GREAT and I actually hope Blackmagic joins the game as well.
The more the merrier!

MacBook Pro 13 inch (mid 2012) v MacBook Pro 15 inch (mid 2014) for After Effects and Premiere

Hi everyone,
I'm interested in working with After Effects CS6 and Premiere CS6 probably creating quite heavily layered files and experimenting with and combining effects. (I also work with Photoshop and Illustrator.)
My workplace allows me to use a 2.5 GHz Intel Dual Core i5 / MacBook Pro 13 inch (mid 2012, non retina) with hard disk and integrated graphics card (Intel HD Graphics 4000 512MB). I understand this Mac can be maxed out at 16GB of RAM. (Official Apple specs I realise say 8GB RAM is the max for this computer but I've looked into this thoroughly and have confirmed that 16GB is in fact possible.)
I'm considering purchasing one of the new Haswell based MacBook Pro (mid 2014) models for myself.
If I do, I'll get the retina 15 inch / Intel Quad Core i7 / 16GB RAM / Intel Iris Pro Graphics / NVIDIA GeForce GT 750M / 1TB Flash Storage.
I realise there is a big difference between these two machines in terms of their specs - the 15 inch with the dedicated GPU will be far more suited to motion graphics work than the lower spec machine with integrated graphics card.
Currently, my understanding is that After Effects CS6 and Premiere CS6 do not support the NVIDIA GeForce GT 750M but from research on the net I believe it's possible to add this video card to the list of supported cards within the respective applications, forcing them to recognise and use it.
Having read about the upcoming Broadwell chip, which I think may be capable of supporting 32GB RAM (possibly coming in Q2 2015 from the various websites I've visited) I wonder if it is worth holding off my purchase, and maxing out my older 13 inch laptop in order to run After Effects and Premiere for the time being.
If I waited for Broadwell based 15 inch MacBooks I think its likely they'll be expandable to 32GB RAM, making the computer a better long term investment.
eg if Adobe increase minimum/recommended memory requirements for their software in the next few years. While I don't know for sure this will happen, it does seem quite likely at some stage. The 2014 15 inch MacBook - while an excellent computer at the moment - could potentially be slightly limited with regard to future Adobe software releases as its max RAM is 16GB.
I realise I could potentially look at a high end iMac if memory is a concern, but I prefer the portability of a laptop so I'm restricting myself to portable options for the moment.
What I'm wondering is -
If I install the 13 inch 2.5GHz i5 laptop with 16GB RAM as is possible, how would it perform when running After Effects and Premiere? It currently has 4GB and it very quickly runs out of memory meaning playback of goes very slowly when previewing complex files in the timeline. This necessitates rendering of small test sections of the timeline to see it at the correct frame rate. Would the move from 4GB RAM to 16GB RAM give me a noticeable improvement in this regard? If so then this is tempting as I don't have to pay for it - I think my workplace will cover the cost of extra RAM. And then I can wait till next year to buy my own high end laptop.
The 15 inch 2.8GHz i7 quad processor has Iris Pro and dedicated NVIDIA GeForce GT750M with 2GB RAM. I would be paying the full cost myself.
I realise rendering would be faster with this Mac but would I see a noticeable improvement over the maxed out 13 inch laptop when previewing multi layered After Effects and Premiere compositions / sequences within the timeline? I like the idea of being able to preview footage in real time as I'm editing as it saves time and I think it makes the process easier generally.
Any thoughts welcome and thanks very much in advance for your time and advice.
Kind regards,
John

"It currently has 4GB and it very quickly runs out of memory meaning playback of goes very slowly when previewing complex files in the timeline."
"In this case yes, I can most certainly see a performance increase as your machine is still not too old and a RAM increase will help it for sure I just can't tell you by how much.
I own the same machine as yours (except for mine having 2.9ghz and i7, and 8GB of ram) so I think it's safe to say for me that the RAM increase will help you for sure."
That statement of mine answers your question you just asked

How can I better improve the color of images between Photoshop and Premiere?

I have trouble getting true colors between Photoshop and Premiere CS6.
What can I do to solve this situation?

Premiere Pro works internally with colors in an RGB (red, green, blue) color space. If you want to edit video clips you create in Photoshop in Premiere Pro, create the clips in RGB.
If you want to broadcast the final movie it is best to ensure, in Photoshop, that the colors in your image are broadcast-safe. Assign the appropriate destination color space—for example, SDTV (Rec. 601)—to the document in Photoshop.
You can refer to some suggestion as below:
http://help.adobe.com/en_US/premierepro/cs/using/WS6693F22C-C06E-431a-A634-62343C65BA7B.ht ml#WS4AF3A4A1-D276-4f3b-A5B2-D3C19D3269DA
Let me know if you have any more questions on this.
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DAV's TechTable
Installing Premiere CC & Encore CS6
http://blogs.adobe.com/davtechtable/
DAV's TechTable
Using Encore CS6 with PremierePro CC
http://blogs.adobe.com/davtechtable/2013/05/using-encore-cs6-with-premierepro-cc.html
Using Premiere Pro CC & Encore CS6 for Bluray, DVD,
and Interactive Video for iPad,ATV, and Mobile HD
http://tv.adobe.com/watch/davtechtable/using-premiere-pro-cc-encore-cs6-for-bluray-dvd-and -interactive-video-for-ipadatv-and-mobile-hd/
Also:
Post #14 in this thread:
http://forums.adobe.com/message/5423331#5423331

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Can someone tell me when Adobe is going to give CUDA support for the Nvidia gtx-980 video cards in After Effects and Premiere CS6? I purchased this card specifically for those programs, and DON'T want to do a subscription to Creative Cloud. I purchased the Master Collection through Adobe, and understand that CC versions support it. Why can't Adobe issue a btch file or update to include these cards. I am aware of OpenGl support, but I would like to add my new card. I also just purchased an i7-4790K to upgrade from i5-3570 to help speed up rendering, but would really like to see the video card supported.

The simple answer is no.
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MXF Files won't play in Adobe Premiere CS6

I had a music video shot on Wednesday, the cinematographer downloaded the files from the memory card onto an external hard drive.. Checked the files, they were fine, handed it off to me. Upon trying to open the MXF files in Adobe Premiere CS6, it gives me an error code of "preview in source monitor failure" "the importer reported a generic error". I've tried downloading codec and all sorts of things, and nothing is working. I also tried converting the files to MOV (i paid $30 for a converter) but the converters aren't playing back the audio, (i tried 4 different converters)… I thought it was some type of error in the files, but I checked with the cinematographer, and he even played back his MXF copy of the clips for me and they have the audio in.. I'm getting really frustrated because I HAVE to have the audio in order to sync up the lip syncing with the audio track. The cinematographer said the MXF file is an MPEG2.
Can anyone shed some light on this issue? I had wanted to have the video edited and released by next weekend.

If I double click on the word holiday, it just shows the file folders. In the file folders the mxf files still don't open.

MXF files won't import into Adobe Premiere CS6

I can't get mxf files to open in Adobe Premiere CS6. I'm working on the newest Mac Book Pro- OS X Yosemite 10.10.1. I tried importing the files through the media browser but I can't open them that way either. I see the mxf video icon but when I try to open it I get this error message -"the importer reported a generic error." I ran all the updates for adobe and apple, but still these files don't open. Help please.

If I double click on the word holiday, it just shows the file folders. In the file folders the mxf files still don't open.

Avid MXF and premiere CS6

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