Hi Dennis,
I think it's interesting that a large focus of this thread is on the differences in Adobe's approach to transcode/render/output workflow. Jeremy Garchow wrote a nice summary here:
http://forums.creativecow.net/readpost/335/33770
For anyone seeing this on the Premiere Pro forum, I recommend reading that entire thread as it has lots of interesting info.
Technical issues regarding Adobe's approach have been been well covered (32-bit QuickTime, no smart rendering, etc.) and
Richard Harrington's summary of import vs. export tax is clear.
But I have to agree with Tom D. about the real-world impact. My typical workflow is to get cards from the DP at the end of the day, transcode at night while everyone's asleep, then start post fresh in the morning with edit-friendly ProRes.
My clients understand the concept of "shoot-day" and "post day" being separate. Since the import tax is paid during off hours, it's essentially invisible to our production schedule.
Like most FCP7 users, I'm used to distributing the render tax throughout post, minimizing its overall impact. I take fast output at the end for granted and often depend on it for versioning and last minute changes. My expectations are very different than when I'm working in After Effects.
The other new reality for a lot of us is that any time-savings up front doesn't automatically get added back to the end. Often it simply goes away. The schedule just gets even more compressed.
My question to you and the Adobe guys as well as everyone else reading this thread is what are your suggested workflows for minimizing the output tax? Are there preferred codecs if working native is not a priority? Unchecking Use "Maximum Render Quality" seems to help. What about preview renders?
Any advice for folks like myself who are new to Adobe's approach to media handling? I think this is the biggest change we will need to adjust to in Premiere Pro.
Thanks!
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David Lawrence
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