Jahredi, I've gotten so dependent on the Direct-to-Speedgrade process I just tried to do an EDL just "cause" ... and even with exporting the media AND the EDL itself at the same frame rate as the original media, Sg kept saying they were different f-r's and refused to put the EDL "over" my footage. It's been so long I don't even know how to get past that. Which is to say that I've gotten to the point of creating sequences of the interview itself (typically 3 to 10 minutes, though sometime more like 30) and the b-roll ... and as each gets at least mostly done I'll take a few seconds to get to Sg and work them. Go back to PrPro for more ... and then if I think they'd be better something else, I'll whip the sequence back to Sg. I'll often initially group clips of 'b' for the type of footage they are, though actually the Master clip feature makes that less needed. Along the way it's not unusual to find I've a different group of stills/graphics for the b-roll side of things. May create a new sequence and work those. I try to add b-roll clips to a sequence in the order I think they'll 'fit' in the interview, and then take either sections of the b sequence or at times the entire sequence as a track above the main interview,  clipping and sliding along so the parts I want show through below as an interesting thing to watch in the playback monitor. Some b-clips are not used at all, but ... I've not spent much time on any of them so what the hey, right? Ae is just for some titles and noise reduction ... mostly. Now, I've done a couple weddings (oof) and other things with vastly different workflows. In everything, the ability to change audio track settings at any time would be a major joy ... Neil ... View more

I'm of the same feeling ... that limitation on changing audio tracks is dam* annoying. I'm a little one-man shop, doing a high percentage of interviews interspersed with b-roll footage, stills, and ... more frequently now ... extra audio. Often I do NOT know at the beginning of the project what audio I may find, figure out how to create, or be given to work with the project. A couple times I've gotten a "new" audio source about the time I thought I was done. So audio is naturally the LAST thing I polish. I realize for say the music video crowd, they do their audio first and add clips to match. I cannot. Period. Neil ... View more

Ok ... well, don't have any DNG footage here myself ... but I know there's more coming out there. Hope it's near the top of the priority list to increase PrPro's (and the other DVA's) DNG capabilities ... it is an Adobe um ... format? ... after all ...   Neil ... View more

Sorry, no ideas ... and in fact, this is a problem I ain't never heard of before either ... although I do know some of the Retina's do have some video prob's I think it is, and so hopefully Kevin or Mark or someone can help you out. Don't know what in the world would cause this ... Neil ... View more

Ouch. Here, the ol right-click a clip on a timeline and choose "Replace with AfterEffects Composition" takes me right over there, the whole selected clip. Getting only a single frame? Something's very wrong in your setup ... bug or something corrupted in your installations or something. That is not proper nor expected behavior! Hope Kevin or Mark or someone can sort this out for you ... Neil ... View more

Puzzled ... "The annoying thing is that sending a clip to After Effects from Premier does not work - After Effects only recognizes a single frame, not the sequence. Bummer!" So ... you select a clip on your timeline, try the Dynamic Link to Ae, and it doesn't show up in Ae? That's ... odd. Am I missing something here (which is quite possible, I must state ...  ) Neil ... View more

Putting a screen grab capture of your sequence setting would help us. PrPro can both edit and export 60fps. Neil ... View more

Great post jonabell. I've been primarily on the PrPro & Sg forums. Intriguing that some folks simply refuse absolutely to consider all the scientific facts about human visual perceptions for different frequencies (hues/colors) of light and state that categorically any objection or claimed difficulties with the blue schema is simple whining about not liking either the color blue or simply being a hater of change as stated earlier in this thread. It is rather accepted scientific fact blue is difficult for the eyes, much as I love the color. And for many men especially deeper blues and charcoal are indistinguishable. Not a "preference" issue at all. If your eyes can't see or distinguish this easily you will get eye strain and headaches. Physical in cause, and something that can not be changed for the better by continued work in the situation. Or wishing. Neil ... View more

Put one in myself ... yea, this would be a handy one. neil ... View more

Feel free to fill out a Feature Request form & send them in ... they do actually read them & ponder on contents. This has been asked before, especially as Ae has such and it works slick. Neil ... View more

There's been the occasional  discussion that PrPro's initial sequence settings box should either be modified/simplified or simply done away with UNLESS the user sepecifially invokes it. This confuses EVERY newbie to the program, causing hours of problems before they get this one silly thing learned. Unnecessary details that are only of help to experienced users on a few occassions. I think we all had this problem. Neil ... View more

Thanks. And useful info ... I'd missed this. neil ... View more

In the lower left panel, when you're working a grade, at the bottom of course is the P, S, +, & other things? If you click the " + ", the top option is Blur/Sharpen. Under that are the sharpening options in Speedgrade ... and I believe they can be masked to affect specific areas. There isn't an equivalent "clarity" local-contrast-lifting option I can think of off the top of my head ... In a Secondaries layer, there is a "denoise" option especially meant for noise that might have become more visible due to the controls applied through that layer. Not sure how much general effect it would have, as there are not sub-controls for it. I think there are a couple things people have used, perhaps NeatVideo or something that might have a plugin for Speedgrade? Within the Adobe video programs, the one with the best de-noise features is After Effects ... Effects/Noise & Grain/Degrain ... Feel free ... in fact, ENCOURAGED! ... to put in a feature wish-request with Adobe for a clarity control in Sg. I've done that oh, a few times ... ahem ... the more the merrier, and the more likely we are to get it. Neil ... View more

It seems most things in Adobe programs have at least three ways of accessing/accomplishing the task ... thanks for pointing out this one. Neil ... View more

As to quick corrections, a bit of experience in Sg and wow ... what you can do quickly. At first, SpeedGrade ticked me off, couldn't do squat in it. After a bit of learning about how to use scopes & what the goal is in video (very different than stills) ... and learning some of the interface bits ... and getting a Kensington Expert Mouse Trackball (which is a great trackball with a spinner ring and no mouse at all) so it works with the color wheels real spiffy ...and the ease of saving "looks" for my camera's main use stuff ... speed of quick corrections is stunning. "Normalize" ... a couple clicks if that's all you want to do. Keyboard shorts too. All for me, way faster than the 3-Way or Fast. As to the ACR interface, I went down to NAB in Vegas this spring, got to talk with some of the folks "behind" Sg. And also such things as coming from a stills background, being familiar with the Lightroom and ACR style of panels, wondering if that was possible. Got a pretty good answer ... short answer, "possible" ... well, yes, ... probably. But ... very, very difficult to do, because of a concatenation of things. First ... the photo apps (Lr, P-shop, Bridge) are developed by a completely different group of people, EVERYTHING from the "look" or style thinkers to the coders. There is virtually no "code" similarity between the products for stills and the products for video. Think about the differences here ... Photoshop and Lightroom are designed to work on one image at a time, realistically, and allow "batching" instructions to a few others. And they can at times pretty much take over most computer's resources. The video apps are designed to work on (process) THOUSANDS of images at a time, as that's what a clip is, let alone a full sequence of clips. The coding "ideology" for the two is completely different. Even though P-shop has some video handling capability, NONE of the code is anywhere near alike. You can't say "we've got that code here, let's put it in over there ... ". It would be like thinking you just wanted good power in a little European sportster so you decided to put a big American-built Cummings diesel motor in it. Um ... with enough work & hassle, it actually might be possible. The wisdom of the effort, let alone the happiness you might achieve with the result ... well, it might be worth thinking about before starting. Or at least realizing it's gonna be a ton of work to do. Second ... resources while running. In stills, if one is technically sharp, one looks at a histogram while "developing" in Lr terminology. That histogram takes next to no resources whatever, works perfectly well. In video, if your aren't looking at least at a good Vectorscope if not also Parade while working, well ... the success of your endeavors let alone the time to create them is going to be ... perhaps ... poor. Probably. Yet those scopes can take quite a bit of resources all by their lonesome. Which is why they have the option to "pause" the scopes while playback is going on, as to keep them going in real-time is a right b-tard. Resource-wise. Think of what's going in in the video apps: they take your source footage, but only the bits you've selected (but out FROM the whole clip constantly), all the changes & effects you've made, compute instantly for every flipping image at between 24 to 120 per second what it "should" look like, and display that in your playback monitor. This is a load the stills apps don't even think about. And yet, they've got to make these things "look" like there's no difference in getting things to your monitor than the stills programs. It is literally like comparing 18-wheel freight trucks to Maseratis. And expecting the Maserati to carry the load the freight truck does. Hey, the little Maserati may actually have more horsepower,. you know. Why can't it pull that semi-trailer? P-shop has some video capability, why can't you just cut & paste something else from P-shop into Sg? So ... the long answer is adding some option like the LR/ACR style interface is an intriguing idea even for the Sg "team". However, it would pretty much mean they'd need to rebuild a ton of the program. Now, most of the things you can do within that interface Sg already does, albeit with vastly different code and "tools". When I asked about perhaps just allowing a Secondaries panel with the HSL look out of Lr, one of the main dudes just sort of ... blanched. I would guess from other comments that that little bit has been discussed or something along that line, and ... it would be a "Significant" people-using project to accomplish. From a coding standpoint, some parts of Sg would simply have to be rebuilt. With the appropriate de-bugging needed to get it operational AGAIN on so many different types of hardware/codecs/drivers/OS & etc. There's times that HSL panel would allow me to easily do precisely what I want ... I would love to have it. I've put in numerous Wish Requests for it. And of course, done so in person. I'm not expecting to see it any time soon, mind you ... but again, put in wish requests for the ACR panel in Sg. Can't hurt. Neil ... View more

Wouldn't mind the addition myself at all ... actually, I've been pushing the Sg team to include say the HSL section out of Lr ...   Neil ... View more

The horrid part of SpeedGrade is the abysmal lack of GOOD info on how to use it. Actually, with a bit of work in learning the blame thing, you can do stuff better & faster in Sg than PrPro ... but it is such a pain to find USEFUL stuff about how to do things that a ton of people share your opinion. As to the interface, it is rather ... minimalist? ... to the point of being totally opaque on first glance. Well, by third glance it's only mostly nearly totally opaque. Sigh. I've been involved with it enough to have some understanding of how it came to be and why the interface is at it is ... which is to say, designed for experienced professional grader/colorists who will use fancy keyboards, control surfaces and also know their keyboard shorts so they're not going to use a menu system hardly at all. But it sure makes coming into it from any of the more "regular" Adobe products a significant "What the ??????????". And I've been in discussions here and elsewhere and watched VERY experienced people at using it surprise another serious user by noting how they get to "X" effect or do "Y" ... completely differently, one didn't know the other method was even possible. That's how ... opaque ... the program can be. All that said, even a relative noob like me can go from stills shooting LOVING the Lightroom interface to finding SpeedGrade the most ... well, simply enjoyable ... software on my machine. I started back in the "CS6" versions with that whole ship out & import thing ... was a pain. Always had a blip in every job. So I did most grading work in PrPro. After the Direct Link became usable, and learning a bit more about Speedgrade ... good criminy, it's so much easier for me to use for grading than PrPro. Neil ... View more

I've come from the still background also ... nearly 40 years since we opened the doors, it's been our entire living all that time. And yes, spent MANY hours in Lightroom, which has developed a lovely way to work files. That said ... SpeedGrade took me by surprise for a while ... the help files are ... well, not help; the manual is ... not help; and the interface seems SO different. I did spend the time to go through the books by von Hurkaman and another one (brain freeze .. what was that ... ) and "took" some lynda-dot-com classes. Learned both what happens in footage usage, especially for playback purposes whether tv, broadcast, or web use ... and found it is really truly a different thing to produce than still images.There are actually reasons why some of the things and effects are so different. BUT ... once you get a glimmer of this, things start making sense ... and ... Speedgrade can do things so fast that are so amazing ... but they're different things to make what seems to be the same look. Except ... they work in video forms. Among other things, until you know what a vector & parade scope show, and how to use them as they are far better and faster than yours eyes at showing what's going on ... you are simply floundering in video. Learn those two tools if nothing else, and your work will be faster, more accurate, and more dramatic or subtle depending on what you want it to be. If you've got "the suite" I do suggest taking another look at it ... and especially, using the Direct Link method can change one's entire workflow. Speedgrade has actually become my favorite program to just sit and ... well, realistically, play in. So fascinating what I can do there, and comparatively (to a full-time colorist)  I'm a complete noob. Neil ... View more

Fascinating, sinuous ... thanks. ... View more

Ideal and Possible are not always congruent. I DO use mine professionally, but around this business we've got about 15 even higher prioritized equipment needs past my editing rig ... so yes, I use it professionally and I must ALSO use it for stills, for business management of two business, yada yada. This machine was the most we could allot for my use in last June. Parts of our business are showing good growth, and we expect to start going through those equipment needs this fall. By year's end, I may well be able to justify a new mobo set, looking at the Haswell E I think it is. Those mobo's, with something like 10 SATA III ports on the board, could take all the discs I currently have and RAID a few of them, and with an even faster chip/mobo, would be slicker than the proverbial nasal mucus. But that might not be until next spring. So as one looks at one's editing rig, BALANCE is always the key. Throwing money on one part of the processing chain without addressing other choke-points can be spendy and frustrating. I don't know about that 970 card ... but I can tell you the 770 with 4  Gig's vRAM does work fine. That one is listed as blowing out many spendier cards currently. And is rather reasonably priced. Neil ... View more

Your system is ok except out to that USB3 external ... as you'll note on the tweaker's page that connection simply doesn't have the sustained throughput for in/out work. Now, for just say rendered out exports, it's ok. For footage where the computer is going to be both reading and writing to that disc, not fast enough. Yes ... I'd started to answer from another forae, and it was shuffled over here. Intriguing how these things work, isn't it? Ahem. And my "builder" is also a major gamer ... LOVES the hot AMD cards, especially for the money compared to nVidia ones. And is REALLY ANNOYED at Adobe for not taking full advantage of the architecture of that line of chips/cards. For him, yes, gaming is the ultimate computer use and function ...  Neil ... View more