Premier Pro and MXF

C

creconfilms

Member
Hi All,
I edit on Avid and love the HVX and would never want to shoot to tape every again. My question is that I'm having someone cut a demo piece and they use Premier Pro and I have never used premier pro. I know I can use Raylight to convert the MXF to AVI's, but how come when you start a brand new project, PP only gives you HDV and SDI-HD project options. Do you need to download some codec or something else? Would PP allow you to edit in either the HDV or SDI-HD project, DVCpro HD files? Sorry, these might be very basic questions, but I'm an Avid guy and have never used PP and the person editing has no experience with MXF files.
Woudl appreciate any ones help.
Thanks
A-
 
there is no support for PP with MXF unless u got raylight or few other softwares that help premiere with this issue.. Pro 2.0 is barely doing HDV editing .....
 
So if you use raylight and convert lets say 720 24p or 108024p MXF files to avi, what project option would you use to start editing the footage.

Also, I just read the following specs for PP 2.0. What is the 4k talk? I know nothing about PP 2.0 so it might be marketing talk, but can it do this? sorry for my PP ignorance.

The big improvement for editing in Premiere Pro is scalable support for the full range of major video formats, from standard definition to high-def, including DV, SD, HDV, HDCAM, D5 HD, and Windows Media Video, up to 2k and 4k resolutions (4096 x 4096).
 
The 2K and 4K settings are mostly meant for film stocks that have been scanned, and digitized so that it may be edited using the software, and then output back to film stock with virtually no lossof detail or quality in the final transfer.

I can't really help you witht he other problems as I have no experience with PP 2.0 as of right now.
 
I understand what 2k and 4k images are, but can PP really edit images captured at such high resolution? Right now you basically have to online a project that was shot with the Genesis, CineAlta and digital cameras in the same family. So the PP specs are saying that you can shoot to a HDCAm SR 4:4:4 color space and capture this uncompressed and edit? I belive in the world of Avid, you have to go all the way up to teh Adrenaline to be able to do this, and even then it might not be uncompressed, so you then have to capture with their DnxHD codec, then online the project on a nitris to maintai full resolution, so back to my question with PP and the specs saying it can handle 4k images. What is the catch?
 
I always edited with avid MC which i think is the best editor, until I used adode production studio with dynamic link. Yes PPRO can do 4K uncompressed just like smoke, depending on the equipment configuration you have. unlike Avid the software achitecture in premeire is open to hardware card, and software developers. So of the shelf it will do its limited formats at a snails pace, but with the right hardware the sky is the limit. Most highend pc HARDWARE IS BUILT WITH PREMIERE IN MIND. Combined with After effect's new floating point log/linear build for HDR, onlining in adode is quickly becoming the new standard. the only limitation is its windows 32bit framework. see the hardware from smoke overcomes this limitation hence the $100k cost. when adobe ports to native 64bit architecture the sky will be the limit for its apps. Rumor has it that the oct intel macs are waiting for adobe's apps for thier release. working with ppro's interface is kind of wiered, but most of your avid keystrokes work just fine. so if you are used to keyboard editing like i am it should work for you. editing 4k is like riding a wld t rex with a barney's saddle.

http://www.adobe.com/motion/superman_returns.html

I am still new to Ppro it takes me twice as long to cut in adode as i would in avid. it does work well with my HVX using raylight.
 
Last edited:
danny damah said:
I always edited with avid MC which i think is the best editor, until I used adode production studio with dynamic link. Yes PPRO can do 4K uncompressed just like smoke, depending on the equipment configuration you have. unlike Avid the software achitecture in premeire is open to hardware card, and software developers. So of the shelf it will do its limited formats at a snails pace, but with the right hardware the sky is the limit. Most highend pc HARDWARE IS BUILT WITH PREMIERE IN MIND. Combined with After effect's new floating point log/linear build for HDR, onlining in adode is quickly becoming the new standard. the only limitation is its windows 32bit framework. see the hardware from smoke overcomes this limitation hence the $100k cost. when adobe ports to native 64bit architecture the sky will be the limit for its apps. Rumor has it that the oct intel macs are waiting for adobe's apps for thier release. working with ppro's interface is kind of wiered, but most of your avid keystrokes work just fine. so if you are used to keyboard editing like i am it should work for you. editing 4k is like riding a wld t rex with a barney's saddle.

http://www.adobe.com/motion/superman_returns.html

I am still new to Ppro it takes me twice as long to cut in adode as i would in avid. it does work well with my HVX using raylight.
Click to expand...

also, what type of project do you import your conveted MXF files into? SDI-HD?
 
raylight has its proprietary codec, under 1080p hd 24 or 720phd. sdi-hd is an ingest format. the hvx needs no ingest as you already record to disk. the default projects dont support any of this, ie. mxf, raylight gives pixel accurate avi's with thier own PPRO SETTINGS. you should be able to edit native in avid. if you plan on a lot of transitions, effects etc best to covert to dnxhd, thats and editing format, it holds pretty strong in post, dvcprohd does not.

check out DVFILM.COM
 
With Raylight, you don't have to convert the files to .AVI in order to use them in Premiere Pro 2.0. You can just drag the .MXF files straight into the timeline; Raylight provides a proper MXF plug-in to support that.
 
I used the new direct PP1.5 MXF import with raylight yesterday. (Worked great)

It appears to need the matrox codecs for SD.

Anyone know why this would be - you can still use a microsoft DV preset,but you get render lines above all clips.

Is this a DV license issue?

Probably a question for marcus.
 
danny, are you using any capture/playback hard with Adobe Production Suite / PP2? Like, say, an AJA Xena card or other, monitoring HD-SDI to a broadcast monitor? If not, how are you monitoring (calibrated) for CC? Thanks.
 
ROne said:
I used the new direct PP1.5 MXF import with raylight yesterday. (Worked great)

It appears to need the matrox codecs for SD.

Anyone know why this would be - you can still use a microsoft DV preset,but you get render lines above all clips.

Is this a DV license issue?

Probably a question for marcus.
Click to expand...

It's because the Matrox codecs are free, work great, and so no reason to reinvent the wheel here.

Raylight requires that you use the Video for Windows (desktop) editing mode.

You're getting the red line because the MXF files are not recognized as
DV-AVI's.
 
mvb said:
It's because the Matrox codecs are free, work great, and so no reason to reinvent the wheel here.

Raylight requires that you use the Video for Windows (desktop) editing mode.

You're getting the red line because the MXF files are not recognized as
DV-AVI's.
Click to expand...

Ok, thanks for the clarity.
 
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