Suggestions for Premiere DSLR -- Resolve Workflow?

Hello all -
I have edited a huge documentary on Premiere Pro, and am very happy with the whole process. This doc is going to be a really cool, well-distributed doc.
I am, however, having a very hard time trying to get my work out of Premiere into Davinci Resolve.
When I try to go via XML, I am having trouble with clips relinking to the wrong clips, because I am dealing with Canon DSLR footage which creates duplicate filenames. I understand that this could be solved by making unique reel data for each clip.
However, I can't find a place to edit reel data in Premiere. Or, if I use a batch reel# editor (like qtChange), that doesn't import into Premiere for the XML import.
Does anyone have a tried and true method for going from Premiere to Resolve, while taking into account the problems of duplicate filenames?
This seems very very very backwards for getting data into a color application to be so difficult.
Ryan

O.K Guys
I have just finished ( an hour ago) a Resolve and Flame post prod session to finish 8 TVCs .
I edited in CS6 and simply exported an edl and supplied the finishing house with the source footage.
This was conformed into Resolve and then onto Flame (as DPX) for compiling once we finished the grade / cc.
I was also dealing with duplicate filenames as well as... and I manage this by organising the source folders.
Another thing...I dual record source files. One internal is AVCHD. The external recorder is ProresHQ so I edit the AVCHD and finish with the Prores files. This means the filenames are different and need prior organising.. but...
Resolve has the facility to manage this perfectly by way of looking for the timecode instead of the filename.
(maybe your DSLR does not produce timecode so you are going to need to adapt this somehow!)

Similar Messages

Suggestions for Prelude to FCP workflow?

We have a project with 22 hours of footage that has been brought into Prelude and logged. The media represents a variety of formats including 5D, 7D, GoPro, FS700, etc. Although originally intended for a Premiere edit, we need to now pass this project over to one of our FCP suites instead. I can't figure out any way to both export a FCP XML file AND convert all the logged media to a usable FCP format such as DVCProHD or ProRes. Any good workflow suggestions for getting all this work out of Prelude and into FCP if I didn't already convert to ProRes when we originally imported and logged the footage in Prelude?
I need something like Media Manager that would let me point to a folder, move all the selected media to that folder (while renaming the clips what they have been named in Prelude), AND convert those clips ot a new format as it copies them. I tried sending the project to Premiere and using Project Manager from there - but Project Manager appears to give me everything but an option to convert the footage into a different format when it copies it.
I feel like I'm missing something simple somewhere.
Thanks for any help.
Don Hertz
AC Media Inc.

Prelude allows you to transcode during ingest, but does not have a way to transcode clips AFTER ingest. This is a great suggestion and I have it noted from the feature request you submitted in July.
You can send all of your clips through AME to transcode them. Getting the metadata you've already created can be applied to the new transcoded clips, however it is a one-by-one operation. For original each clip choose File->Save Metadata As... to save off the XMP to a separate file. Next ingest the transcoded versions of the clips and for each you can apply the XMP metadata via the Window->Unassociated Metadata panel.

Suggestions for document scanning program/workflow

I am in need of a program/workflow for scanning a variety of mixed text/image media, including books, government and financial documents, university assignments, etc., which will at minimum allow one to crop and adjust the bitonal threshold, and produce djvubind files with OCR data. I have originally used a custom bash script to implement a scanimage - GIMP - djvubind + tesseract workflow, but it was inconvenient and djvubind was buggy in integrating tesseract (despite sending a bug report that was resolved). I also tried scanimage - scantailor/scantailor-cli - djvubind + tesseract, but scantailor had editing limitations and of course the OCR bugs were still an issue. My latest approach is gscan2pdf, a program that does properly integrate with djvulibre and tesseract, but the program is very buggy and therefore painful to use on a regular basis - for example, I have to manually verify every page twice (since sometimes it does not invoke OCR on certain pages, and sometimes it does not export all pages to the djvu file).
Ideally, it would probably be possible to achieve the benefits of both automation and a plethora of editing capabilities, while reducing redundancy, by some sort of GIMP plugin/extension. Any ideas?

Hi Referee06,
Thanks for getting back to me.
I do have a few more suggestions that we can try.
If you have a firewall or anti virus protection running, try disabling them and reboot the computer. Once the computer is back on, attempt to use the Solution Center again.
If you are still having issues, try running the HP Print and Scan Doctor.
Let me know if you see any error codes or messages.
Thanks again for your time.
Cheers,
Click the “Kudos Thumbs Up" at the bottom of this post to say “Thanks” for helping!
Please click “Accept as Solution ” if you feel my post solved your issue, it will help others find the solution.
W a t e r b o y 71
I work on behalf of HP

Two graphic cards - 1x GTX680 4GB and 1x GTX680 2GB for Premiere and Resolve

Hi,
i use 2 Nvidia GTX680 cards. 1 with 4 and the other with 2 GB V-RAM
For Resolve i want put the displays in the 2GB card for GUI and let the 4 GB card for GPU use only.
How does this setup work in Premiere. Is Premiere usinh the card where the displays are pluged in? Or does it use the other or maybe both?
I cant find any informations about that
Maybe someone can help
Thans
Armin

this should be moved here Hardware Forum
i believe premiere will try to use both video cards, you can check with GPU-Z while working/rendering in premiere.

Training Suggestions for HD to SD workflows

I recently moved from a PowerMac G5 using an analog to digital converter to a MacPro 2x2.8 Quad Core with a Blackmagic Intensity Pro card. My current setup is mainly capturing component video/stereo audio via the breakout cable for the BlackMagic. On the G5 I was also using FCS 2, mostly dealing with fairly simple clips and editing them for output to SD DVD
I'm encountering new things like "for best performance your sequence and External Video should be set tot he format of the clips you are editing" messages. I'm sure it's just working out the proper settings, figuring how to export out my material for SD DVD, etc.
Are there any good training materials (online, books, etc) that give a comprehensive look at how to handle/configure my work flow? For now, most of my work will be output to SD DVD.
Thanks!
Message was edited by: mcguirek

There's no real secret here...and nothing that requires a full manual on the matter.
Edit native HD (if HDV or DVCPRO HD or XDCAM). Export a self contained Quicktime Movie. Use Compressor to encode as an SD DVD...using the BEST QUALITY encode options.
Shane

Workflow suggestions for CS4, Sony XR520 (HD) & TRV18 (SD-MiniDV)?

Hello all,
I'm working on my first video "production" in a long while, and it's my first time delving into the world of HD and mixed formats. So I'm feeling a bit like a fish out of water.
This is the workflow I was USED to:
Connect camera to computer via FireWire(MiniDV-SD-60i)
Launch Premiere 6.5
Use Capture Utility to set In/Out points and bring in as AVI clips
Import those AVI clips into bins and edit directly
Save Timeline out to AVI
Encode to final output format
SO, this is the situation I'm faced with now:
Two cameras. Main camera is Sony HDR-XR520 (AVCHD-1080i). Second camera is Sony DCR-TRV18 (DV - MiniDV - 30fps Interlaced - 60i?) for time lapse shots/filler shots.
My final output is going to be computer/internet playback (I'm assuming I'm going to need to output to a progressive format, 24P or 30P. Am I right on this?)
Any suggestion as to what my workflow needs to be?
My assumptions:
Edit using a 1080i30 (60i) timeline(sequence)
Edit XR520 clips directly
Import TRV18 as avi clips, put in timeline, but only use clips to fill 1/4 of the HD frame (don't try to up res)
Export to AVI, encode to mpeg4 and remove interlace.
Am I going in the right direction here, or am I all wrong on this?

Thanks for the suggestion. Yeah, I guess that's the thing: the final output, while it will be computer/internet playback, doesn't necessarily have to be at full hd. In fact, I'd rather it be 1280x720, since not all laptops (typical of what our sales people will have) will be able to handle playback of HD video. I really just want them to be able to play this video back in PowerPoint or directly through WindowMedia/QuickTime at 100% or fullscreen mode, and still be high quality to the viewer (typically in a conference room/board room, on a projector, an large monitor, or directly on the laptop screen)
I've seen SD internet video that plays back really well in fullscreen mode (on a typical 1280x1024 monitor), but I don't know what export settings will yield those type of results. Any good tutorials on getting SD video to encode and play really well at monitor resolutions?
It'd be nice to be able to use the SD timelapse footage at full size, but I was planning on only using that timelapse footage in multiples (2-3 clips playing at SD size on an HD timeline). As far as PAR, if I was to manually place black bars on the 4:3 footage, would I be able to export in native 16:9 PAR so I could then edit it in a 16:9 timeline?
So, going along with your suggestion, would I need to convert all my HD clips FIRST to 1280x720, then edit on a 720 timeline, or edit on a 1080 timeline and export to a 720 output?
Also, am I right that since playback is on a monitor/projector, that I'll need the video to be progressive?

Premiere Pro CS6 to DaVinci Resolve Workflow

In his article at the link below, Walter Bicardi notes that because of errors generated when he attempted to export an EDL from Premiere Pro CS6 for import into Resolve, the EDL kept causing Resolve to crash and he had to send a flattened file of his timeline to Resolve and then use Resolves auto-scene detect feature to chop up the flattened file. He then sent a flattened file back to PP CS6.
http://www.biscardicreative.com/blog/2012/07/continuing-tales-of-an-fcp-switcher-cs6-workf low-for-now/
Is this the only way to send a project to Resolve from PP CS6? Is it possible to use XML, AAF, or EDL export to send the timeline to Resolve, or does this feature of PP simply not work the way it is supposed to? Or is the problem with Resolve?
Any information on how to export the timeline to Resolve without resorting to a flattened file would be greatly appreciated. The flattened file approach would work to a degree, but it is not really an adequate workflow in this day and age.
Thanks,
Kevin

I have been giving DaVinci Resolve 9 (Lite) a trial run this week.
So far, I have noticed it handles FCP-style XMLs better than EDLs. As long as you strip out any APP-based effects (Warp Stabiliser etc), and any Dynamic Links (AFX) it seems to handle general dissolves/levels just fine. I haven't tried it with mixed codecs yet (I've tried H264, XDCAM, ProRes and DPX so far). One potential work around, if you want to convert your entire timeline to DPX and not use Scene Detect, is click 'Send to Speedgrade'. It generates labelled bins with DPX sequences for all your clips. If it's short-form but high quality (say an ad for broadcast), you can swap the files around in the Conform room in DaVinci.
I noticed a few bumps with the EDLs, namely the timecodes not syncing up properly. This might be due to the footage (the project I tried had been shot on a 5D). Hence using the XMLs instead.

Looking for some RAW + JPEG Workflow suggestions

I'm looking for some suggestions on how best to organize my workflow now that I've started shooting with RAW +JPEG. I previously shot only in RAW, but the time spent in post-production was killing me. I've realized that for 95% of my shots that already have the correct exposure, white balance, etc, a JPEG photo is really all I need and saves me a ton of time. I've become convinced that editing every single photo from a shoot in RAW is overkill. I want to have the RAW versions, however, to rescue that occasional great shot where I unfortunately miffed the settings.
Through reading other posts here and experimenting, I've found that Aperture basically defulats to showing me only the imported RAW photos and that I need to click "New Version from Master JPEG" to see the JPEG version. This seems counterintuitive to the workflow I'd like to establish though. (i.e. I'm thinking it would be nice to see only the JPEG versions, and then only bring up the RAW version when the photo needs some serious correction).
I suppose I could highlight the entire batch of imported photos and select "New Version from Master JPEG" and then sort through each RAW/JPEG stack, but I'm still hoping there's a less cumbersome way. Anyone out there have any good workflow suggestions for this issue? I'm curious how other people out there deal with this issue in their workflow.
Thanks in advance!
Message was edited by: Nate Cannon

Try this - I do this as a matter of course:
-select all of the photos after importing them into a project
-create a new album from selection/call it JPG
-with all of the images still selected create new version from master JPEG. all of these should now be the album pick
-close all stacks, the JPEG will be the one showing up on top for that album.
RB
More here: [Aperture RAW+JPG|http://photo.rwboyer.com/2009/01/14/aperture-2-quick-tip-shooting-rawjp g>

SSHD Hybrid drives and Raid 0 for Premiere

I am looking for a little support and help as I would like to expand both the capacity and speed of my current editing setup.
I intend on using 2x Momentus XT Hybrid SShD 750gb to give me 1.5tb of very fast storage, and buying a cheap 2tb drive to manually make backups.
I edit mainly DSLR footage in cs5.5, but I 've noticed large slow down in applying effects and rendering as my current 1tb drive fills up.
I've looked around the internet for some answers specifically about this scenario, and whether it would suit to enhance video editing.
I am currently using windows 7 home premium.
Gigabyte x58a-ud5
intel i7 920
12gb corsair ram
gtx 470
I am currently using:
C:128 Corsair ssd force 3
D:Seagate Barracuda 7200
C:OS,Pagefile,Premiere and programs, media cache
D:Everything else
Thanks

I did a quick render test. It is rendering okay when I am applying basic colour correction. The CPU is going between 20% and peaking at 80%, so this would indicate that the CPU is maybe not the bottleneck currently.
The ram is using 6 gb at max, of 9 gb made available for use by Premiere in the preferences.
I will definately clean up my drives and defrag very soon, as I am finishing off a short film project where I have been using 10 bit uncompressed footage. That should free up some space!
I am interested about your other suggestion about getting the hdd drives and raid 0. I have done a little research recently on the forums, and had a look at the optimum disk configuration for various systems depending on the number of disks available. Now, my understanding is that you want to try and spread the load over a number of disks. I am noticing now that a few people are using SSD's, and submitting these as suggestions for disk configurations.
I am considering the idea of buying a couple of small capacity SSD's, (maybe with the marvel controller, that Harm I believe mentioned is better than sandforce for robustness), and in Raid 0. I would use this for my media cache/render preview/pagefile section. Even 2x 60gb ssds striped to provide 120gb, would be more than enough for my standard workflow. Also, if the array goes down, its just temporary cache anyway right?
Why would I use a 1tb 7200rpm drive, when I could go this route instead? I know the 1tb drive would be cheaper, but isn't speed of the essence here? I read a comment that Harm mentioned that "most speed requirements is for scratch, temp and pagefile". I think with a bit of housekeeping, I can delete old render previews, media cache and database entries, and have plenty of room left over with the kind of projects I work on. I'm using around 60 gb for that section right now.
I am thinking now of ditching the hybrid sshd plan, and going for 2xssd low capacity raid 0, and a 3 tb drive as an archive to free up my 1tb drive for footage, exports, and maybe projects.
I am interested to hear whether I am being sily to bother striping 2ssds with my modest setup. Will my motherboard bottleneck somewhere first?
I could just get another couple of 1tb drives, but I feel like I want to challenge that approach as SSD technology and prices have come a long way. SSDs support trim in Raid 0, so whats stopping us?
Also, I may point out that I am looking to upgrade at some point the whole architecture of my PC. I am thinking about the GTX 760 in the near future.

VHS - DVD Recorder - PC - Premiere Pro CS6: Workflow Questions

Hello,
I hope I have this posted in the correct place. I am seeking advice and suggestions for VHS tape to digital transfers. Here is my current workflow:
VHS tape is played back on a Panasonic PV-D4744S VCR and is recorded directly (via composite A/V cable) to a Panasonic DMR-ES40V DVD recorder and onto a DVD-R, -RW, or +RW.
The disc is then copied into a Windows 7 folder with all of the contents of its VIDEO_TS folder intact; this folder is saved on several external hard drives for safe keeping.
I then open and import a copy of the .vob files into Premiere Pro CS6, where I minimally scale the video to eliminate the distortions (“VHS tearing”) on the sides and bottom of the VHS source video. The result is a very clear video which fits perfectly in a 4:3 project window on my 16:9 HD computer screen with minimal pillarboxing.
It is at the stage of export where I am stuck.
The final DVDs are going to be viewed on a 16:9 widescreen TV, as well as on an iMac computer. I’ve read all much about interlaced scanning (VHS, Laserdisc, TV) and progressive scanning (computer, LCD TVs), but I’m still not sure if I can make a DVD which will look proper on both TVs and computers. In addition to the scaling, I am using Premiere to add chapter makers and poster frames to the video, which I wish to then export to either Encore CS6 or NeroVision – I love Nero’s animated 2D and 3D menu selections. What export settings should I use in Premiere which are closest to the original, imported .vob files? I’ve exported some test videos in MPEG2-DVD format to folders, but they are huge compared to the original DVDs made on the standalone recorder, i.e., 12.8GB on Premiere export compared to the 4.7GB import.
Are there settings to make the Premiere export as close to the original DVD import of 4.7GB without sacrificing quality? Should I simply import the sequence into Encore as a timeline and let it perform the heavy lifting of automatically compressing the files to fit on a 4.7GB DVD? NeroVision seems to not accept the MPEG2-DVD files; it “sees” only the .m2v video files and not the .wav audio files.
In a nutshell:
I want to take a raw DVD-R (or -RW, +RW) recorded on a standalone and copy to hard drive, add chapter markers and minimal scaling in Premiere Pro CS6, then export and burn a DVD that will look good on both a 16:9 TV and computer screen.
I'm trying to get this project finished for a soon upcoming family get together. Any suggestions, tips, and general advice would be greatly appreciated.
Eric

Hi Eric,
The issue I would have with the workflow is that DVD is heavily compressed for delivery - not meant for re-compressing again. You're re-compressing a file that's already been compressed as small as can be. Most DVD recorders have different quality settings, like 1 hour, 2 hours, 4 hours. Use the 1 hour mode on the DVD recorder to get the "best" quality source if you must re-edit the stuff. The typical workflow would be to have some sort of capture device on the computer that records a larger, less compressed file to begin with.
As for export from Adobe using Media Encoder, choose "MPEG-2 DVD" of course, and select "NTSC DV" for the preset. Under the VIDEO tab, you'll need to adjust the encoding bitrate according to the video length. A good rule of thumb is to use 560/minutes=bitrate, and I will round down a touch for safety margin. This assumes Dolby Digital audio on the DVD (AME exports .wav audio and Encore converts to Dolby). Note that most folks don't go over 7 or 8, for best compatibility (the max limit is a bit higher, but quality of VHS source is not going to get any better anyway at higher rates, GIGO).
Regarding audio for the DVD, could be that Nero expects ONE file with audio and video. In AME, look under MULTIPLEXING and change from NONE to DVD, this will combine them. Then under AUDIO, choose DOLBY or maybe MPEG will work for you. Use a 192k bitrate for audio if going that route.
Note sure what you meant about the 16:9 screen - would recommend against putting the 4:3 source material into a 16:9 sequence in Premiere in you are, this will do more harm than good. Stay with 4:3 throughout, including the DVD creation - the DVD player and TV ought to know what to do with it. You're actually REDUCING the resolution if you use a 16:9 workflow. Note that if you encode a 16:9 DVD using 4:3 material in the 16:9 frame, and then play that DVD on a 4:3 TV, bad news - it gets letterboxed AND pillarboxed and you end up with a small video surround by black on all sides. Not cool.
I'd stick with interlaced - if you deinterlace the footage at any point, you are essentially throwing away HALF the resolution, which is weak to start with for SD. Most software players will have Preferences settings to let you tweak the playback/deinterlacing at that point, and TVs will handle it fine.
PS - if you use Encore, then just export the .m2v and .wav files using Media Encoder, import both to Encore, and Encore then does NOT recompress the video any further (as long as it fits), only the audio gets the Dolby conversion. Do NOT use Multiplexed files in Encore.
Hope this is all helpful
Jeff Pulera
Safe Harbor Computers

System requirements for Premiere Pro CS5

Adobe has on its website the Adobe Premiere Pro CS5: System Requirements
Unfortunately, this overview is severely lacking in realism and a lot of people were disappointed when their system met these minimum requirements, but still would not do what they expected, or at least not without jerkiness, hiccups and similar issues.
The problem with these requirements as stated is that they are really bare minimum requirements to install the software, but unfortunately it does not tell how well a certain system will perform with the myriad of codecs used and the different needs and expectations people may have about their editing rig. Since this issue is nearly a year old now and nothing tangible has changed, I decided to write this article to help people understand what is realistic to expect, what influences the hardware choices in order to use CS5 to full satisfaction.
CAVEAT: This is my personal opinion, in no way authorized or endorsed by Adobe, who have not seen anything I write here till the moment it has been published here.
Context:
The nature of one's editing projects can have a major impact on the hardware required to run projects effectively. Long form documentaries, delivered on BRD demand different hardware and priorities in hardware setup then music clips with lots of multicam work and color effects delivered to the web, or wedding video's delivered on DVD. And unfortunately, there is no simple rule saying that if you edit X, you need Y hardware.
The second thing that has a major impact is the source material, the codec used. Back in the old days things were very simple, you had DV material from a tape based camera and that was it. Nowadays, things have grown much more complex. The number of codecs used in source material has grown enormously, the number of formats and frame rates has grown in a similar fashion. We used to have 480, now we have added 720, 1080, 2K, 3K, 4K plus various DSLR and other formats, we had interlaced, now we have progressive as well, we used to have 25 or 29.97 FPS, now we have 24, 25, 29.97, 60 and even more frame rates. We had DV, now we have MPEG2, HDV, XDCAM, P2, AVCHD, RED, Cineform, Matrox, and numerous other codecs.
This makes it all the more confusing for people to know what they need when they start out with video editing to run CS5 successfully.
The codec issue:
Some codecs are easy to handle for a computer, others are difficult to handle. It is generally known that DV material is very easy to handle and AVCHD is pretty tough to handle. The general rule is that the more compressed the material is, the harder it is for the computer to edit this. GOP (Group of Pictures) structure is an extra burden. The higher the resolution, the harder it is on the computer.
To simplify matters one could differentiate codecs and source material in three categories, based on their properties:
Of course boundaries when using three categories are not always very clear, but the tendency is rather clear. Easy codecs are in the upper left corner, difficult codecs are in the lower right corner. For that reason we have identified three categories, Easy, Intermediate and Difficult.
This is somewhat similar to the color coding PR uses with none, yellow and red in the time line. It is not complete in the overview of common codecs, but is intended to show what the impact can be of different codecs and the hardware requirements.
I realize this is a limited overview and generic in nature. It will not answer all questions, but may be helpful to avoid disappointments. It also has a number of limitations. For instance, uncompressed MS AVI SD material. No GOP structure, no compression, low resolution, that should be at the top left corner, right? Wrong. Uncompressed does not burden the CPU, but is a definite burden on the memory and disk I/O system.
What does that mean in terms of requirements?
System requirements:
If the codecs you generally use are slightly more than just plain "easy", look at the improvemnts in the next column and repeat for the next column if applicable.
I hope this can benefit people to understand there is more to choosing a system than just following the Adobe site.
Additions or suggestions for improvements are welcome.

Harm,
A while back you gave me some advice re a kit build for Production Premium, which I submitted for consideration, and for your thoughts I thank youl. Several months on, the powers that be (UK Civil Service) have decided to go a different purchase route. The request has ended up in the hands of a well known computer supplier 'chain' (a prefered supplier) and because they can't supply the Sabertooth board you recommended they have come back to my bosses with a their recommendation based on what they will supply. My question is, would you accept it, will it take advantage of CUDA and do you foresee any problems:
I am shooting with a Panasonic AG-HMC151E AVCHD. H.264 MPEG-4 compression.
The chain are quoting:
Windows 7 64 Ultimate
CS5.5 PP
on:
Intel DX58sO2 Extreme
i7-970
Trudata 12GB DDR3 PC3-8500 1066MHz Unbuffered 204-pin
HP NVIDIA Quadro 4000 2.0GB
1 x WD 450 velociraptor 10k
3 x WD 1TB AV-GP Greenpower 64MB SATA-II (NO RAID)
800W PSU
The problem with preferred suppliers is you get what you are given. Do you think there any 'conflicts' in the above spec?
Appreciate your opinion
Regards
Peter

When I upgraded to IOS5, my playlists no longer appear on the iPOD. When I do a Sync, the playlists appear, but will not sync to the iPOD. Any suggestions on how to resolve??

When I upgraded to IOS5, my playlists no longer appear on the iPOD. When I do a Sync, the playlists appear, but will not sync to the iPOD. Any suggestions on how to resolve??

I would understand it if you checked email on your Mac, and then those messages were not available on your iOS devices if you had the advanced account setting "remove copy from server after retrieving message:" set to immediately.
I looked through my iPhone settings and don't even see an option to tell my phone to pull the only copy of a message and delete it from the server.
Possibly there is another setting in Lion (I am running Snow Leopard still) that tells your Mac to only synchronize mail to your iOs devices and is not pulling mail directly from iCloud.
You could try disabling your current iCloud email account in Mac Mail, and adding a new one and just telling Mail it is a standard IMAP account (imap.mail.me.com incoming and smtp.mail.me.com outgoing).
I did that for Leopard to get my email even to work after MobileMe is cancelled and it seems to work fine with my iPhone.
If that doesn't work, you can delete that new email account and re-enable the temporarily disabled iCloud email account from above.
Hope this helps.

I am no longer able to double click on a file and have it open. Any suggestions on how to resolve this problem?

I am no longer able to double click on a file and have it open. Any suggestions on how to resolve this problem?

Please read this whole message before doing anything.
This procedure is a diagnostic test. It’s unlikely to solve your problem. Don’t be disappointed when you find that nothing has changed after you complete it.
The purpose of the test is to determine whether the problem is caused by third-party software that loads automatically at startup or login, by a peripheral device, by a font conflict, or by corruption of the file system or of certain system caches.
Disconnect all wired peripherals except those needed for the test, and remove all aftermarket expansion cards, if applicable. Start up in safe mode and log in to the account with the problem. You must hold down the shift key twice: once when you turn on the computer, and again when you log in.
Note: If FileVault is enabled, or if a firmware password is set, or if the startup volume is a software RAID, you can’t do this. Ask for further instructions.
Safe mode is much slower to start up and run than normal, with limited graphics performance, and some things won’t work at all, including sound output and Wi-Fi on certain models. The next normal startup may also be somewhat slow.
The login screen appears even if you usually login automatically. You must know your login password in order to log in. If you’ve forgotten the password, you will need to reset it before you begin.
Test while in safe mode. Same problem?
After testing, restart as usual (not in safe mode) and verify that you still have the problem. Post the results of the test.

Mac vs. PC for Premiere Pro CC with a budget of...

$3300.00 ... That's what I'm budgeting.
Warning:
I know any post of Mac vs. PC can spark a lively debate and I sense much of this forum's base are PC users but hopefully I'll get some honest and sound advice/purchase options.
Purpose:
I'm a current Mac user not wanting really to go back to PC but I'm about to make a purchase so I wanna be open to the idea if it's gonna make life better for me while editing. As crazy/stupid as it sounds...my fear of returning to the PC world is mostly because of my memory of the years of having to deal with the need for Virus Protection on a PC. I have bad memories from having to renew/pay for that every year and it slowing things down and ultimately my last PC was infected and crashed. But my editing is what I do 6 days a week on this computer for work. I used to be a FCP user so Macs made sense but now I'm all in on Premiere Pro CC so maybe a PC would be best...or maybe I should just stay with Mac. Who knows?! Bottom line: I use Premiere, Audition, Encore and Photoshop with 90% of it on Premiere (using basic cuts, cross dissolves, extensive use of Warp Stabilizer, and the occasional gaussian blur). I also use this computer to go online. That's about it. Mostly.
Current State:
I have a 2011 iMac with a 27" screen. Love that size. It has 3.4 GHz i7, 16GB 1333 RAM, AMD 6970M 1GB VRAM GPU, 120GB SSD (OWC 6G) running the OS and apps, and I also have a Elite Pro Dual eSata HDD + Thunderbolt adapter (RAID 0) from MacSales.com that I currently use as my scratch drive.
Option #1:
I was just about to purchase the newest iMac with most of the upgrades for what would be $3300. The upcoming 2013 Mac Pro looks nice and I love the idea of being able to upgrade as I go, but it doesn't come with a screen and I can't necessarily afford it when you add that in. Plus it doesn't come out for a couple months and honestly I have a great offer in right now on my iMac that I'm about to sell.
The iMac I was intending to get as soon as next week was:
2013 iMac with the 27" Screen
3.5 GHz Quad-Core Intel i7 ("Turboboost" up to 3.9 GHz)
1TB "Fusion" Drive (Apple's 120 SSD + 1TB HDD mix)
32 GB of 1600 MHz RAM
NVIDIA GeForce GTX 780M (4GB VRAM)
4 USB 3.0 Ports
2 Thunderbolt Ports
PRICE: $3300 (about)
Option #2:
A PC of some sort that's upgradable going forward and optimized for what I use it for primarily (see underlined and bold above). I truly have been out of the PC world sooo long and I know that each "side" has their advantages. I love Mac but I'm just wanting to get the best machine for Premiere for my budget. I've been a loyal mac user for years but I'm no fan boy (eg. I happily own a Galaxy S3 by choice) I was excited to get the newest iMac released just a couple weeks ago but then tonight I saw this site (http://pcpartpicker.com/) and started thinking about my options.
I will be selling my 2011 iMac to help pay for the new one so I can't keep this one. That money has factored into my budget. It's been great but I feel like it drags and hangs with MPE enabled sometimes so I figured a newer computer would help.
Also...SSD. I have read great things from various posts about the Samsung 840 Pro SSD's so I may pick one or two up eventually to supplement or replace my current scratch drive.
I'd love someone to toss out if I should go option #1 or if there's a better Option #2 out there.
Thanks!

cc_merchant wrote:
1. You don't need a separate audio card, audio is included on the motherboard.
2. Do you need wifi on the motherboard? Then look at the P9X79 DeLuxe.
Re: #1) Done! No idea about that.
Re: #2) Again, no idea. You tell me, do I need wifi on the motherboard or not? And I don't see that DeLuxe option. I'm just picking things that sound nice outside of what you had for your "Low-End Warrior Setup". I'd honestly rather you tell me what works and what doesn't because again, I have almost no idea here.
Like I said before, I totally guessed on the type of RAM (brand? 1600 vs 1866? etc), the Case (all I knew was to get a Full Tower), the OS (8 vs 8.1 vs. 32bit vs 64bit), and the monitor (comparible to iMac's 27" monitor?) and other things like sound cards and wireless network adapters (of which I may not need apparently). Also, I switched the GPU to the GTX 770 because it's listed on Adobe's supported cards list. Not that the 760 wouldn't work but maybe this one "future proofs" it a bit more and plus most of the footage we handle is 60fps edited and exported at 24fps so according to that Tweaker's link above, a great GPU help. It does have 4GB VRAM instead of 2gb so I don't know what difference that makes but I figure its better. As for "brand" I took a wild guess and went with Gigabyte, not sure if that's good or not. FYI: By comparison the iMac I'm debating has a GTX 780M GPU with 4GB VRAM. You tell me if this was smart. Still under budget.
So many questions remain. cc_merchant, feel free to lay out your wisdom and help me shape my purchase based on what you know. I like hearing things like "don't need that" or switch it out for "this one" instead. If it goes over $3300 by a touch (not too much), that's okay as long as it's gonna be THAT much better than the spec'd out 2013 iMac listed above.
Thx again.
Here's where I stand...
CPU
Intel Core i7-4930K 3.4GHz 6-Core
$573.98
CPU Cooler
Noctua NH-D14 SE2011
$74.99
Motherboard
Asus P9X79-E WS SSI CEB LGA2011
$465.99
Memory
Corsair Vengeance 32GB (4 x 8GB) DDR3-1866
$325.68
Storage
Samsung 840 Pro Series 256GB 2.5" SSD
$209.99
Seagate Barracuda 1TB 3.5" 7200RPM
$59.99
Video Card
Gigabyte GeForce GTX 770 4GB
$447.99
Wireless Network Adapter
Asus PCE-N53 802.11a/b/g/n PCI-Express x1
$32.99
Case
Rosewill BLACKHAWK-ULTRA ATX Full Tower
$189.99
Power Supply
Corsair 860W ATX12V / EPS12V
$166.49
Optical Drive
Asus BW-14D1XT Blu-Ray/DVD/CD Writer
$88.98
Operating System
Microsoft Windows 8.1 - OEM (64-bit)
$96.99
Monitor
Asus PB278Q 27.0"
$549.9
TOTAL: $3284.03
Any Suggestions? Changes? ....

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