Premiere Pro CS5.5 (5.5.1) update available

Premiere 5.5.1 still doesn't work with Nikon D7000 files! I have been waiting months for this fix. It WORKED in 5.0. The D7000 is Nikon's best video DSLR. Their are millions of Nikon users. Please respect us and FIX this!
 
Todd_Kopriva said:
If you change the file-name extension of a Nikon .mov file to .mpg, the file will work fine in Premiere Pro CS5.5. This forces Premiere Pro to use a different decoder (not the QUickTime decoder, which is painfully slow).

See this document on the Adobe website:
http://kb2.adobe.com/cps/915/cpsid_91558.html
Click to expand...

The other option would be to fix this simple problem...seriously, is it really that hard?

if file_signature=nikonmov then
treatfile_as=mpg
end if

I bet you could fix it in less than 10 lines of code. Your workaround reminds me of Microsoft's fixes for bugs in Windows
 
This is an example of a fix in which most of the work is in testing, not coding. We are working on a fix, but we didn't want to introduce a fix for one thing that then broke several other things.
 
Would it possible to add an option at import so that you can tell Premiere to use a different decoder? I'd love to do that for every .mov so Quicktime never gets in the way...
 
i'm very excited about this update. Now the playback with DSLR (in my case Canon 5D Mark II) is more smooth. Thanks Adobe.
 
Hi Todd,

I'm a recent FCP>PP switcher, with a quick question RE:color correction. I've been told that Premiere Pro sequences aren't tied to a particular codec, except where I choose a preview codec/quality. Which is great, I was really tired of transcoding my 5D files before editing.

What I'm unclear on is how PP hands off to a third-party color correction application like DaVinci. If I'm exporting XML for DaVinci and I haven't transcoded the footage before I started editing, is DaVinci pulling in my original 4:2:0 h.264 files and applying my changes to them? If so, it seems like it would still make sense to transcode to something like Avid Meridian or MPG 50 before editing, so DaVinci has more to work with? I know I can't reintroduce data that isn't there to begin with, but in my experience applying color grades to h.264 footage can be problematic, due to the very limited color space.

I'm sorry if I'm over thinking this, thanks very much for your time!

Cheers,
Paul
 
lovetrumpsfear said:
. If I'm exporting XML for DaVinci and I haven't transcoded the footage before I started editing, is DaVinci pulling in my original 4:2:0 h.264 files and applying my changes to them?
Click to expand...

No. All proper software convert everything to 32-bit float for color changes anyway.
 
Awesome, thanks for the info. That got me pointed in the right direction, I feel a lot better about my workflows now.

Cheers!
 
lovetrumpsfear said:
Awesome, thanks for the info. That got me pointed in the right direction, I feel a lot better about my workflows now.

Cheers!
Click to expand...

I've found that a lot of cameras that record to an H264 type compression store information above 100 IRE (which means it appears to be blown out unless you bring the levels down in 32bit space), so working with the original files during grading will actually give you extra data in the highlights that would've become clipped during a transcode.
 
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