At first, it was a hard concept for me to grasp but, in CS6 the codec associated with a particular Sequence (Preset) is essentially ignored, it's all the other parameters that are critical (i.e Timebase/frame rate, Frame Size and Pixel Aspect Ratio). I use a AJA LHi card but I created, or more accurately re-named, most of my common presets based on the AVC-Intra (AVC-I 100) presets for HD and DVCPRO50 presets for SD. As I recall I kept most all settings untouched with the exception of one preset where I changed the Frame Size from 720x480 to 720x486 only because I could not find a preset with those settings.
If you start with one of these presets, all the critical settings are predetermined and are AJA ready. Having a setting for an AJA codec (even if they were available for CS6) would be pretty meaningless. I suppose if you could set your Preview File Format to an AJA codec, and you ALWAYS exported using preview files, you might see some efficiency. I just keep my Preview File Format set at I-Frame Only MPEG, the quality is excellent and the render files are quite small.
Thank you for your answer!
Does anybody know a useful document which describes how Premiere deals with timeline codecs in general (as partially broached above)?
I wonder why BlackMagic installs pre-defined sequence presets when installing the Desktop Video Installer? After installing I have many pre-defined sequence presets with the Blackmagic YUV codec (uncompressed 4:2:2 in 8-bit or 10-bit) which are obviously handled by the Mercury Playback Engine. Is this not possible with AJA codecs?
Is there a way to use the ProRes codec (either from the BlackMagicor from the AJA codec package) as a sequence codec in Premiere? Again, is there a way to install ProRes codecs as pre-defined sequence presets?
The links in this thread explain the concepts quite well
Premiere converts (on the fly) all imported footage to a 4:4:4 32 bit color space, a spec which is equivalent or better than ProRes444.
When I force the sequence to conform to a ProRes file (drag file to create new sequence), indeed I do not get a yellow bar above the clip, but further examination reveals the ONLY difference in the sequence setting is that Video Previews is now set to QuickTime (Desktop) and the codec is Apple ProRes 422. But like I said before, I prefer to keep my Preview files as I-Frame Only MPEG because I only care about the best quality when I am exporting.
If you want to create a ProRes Preset the following link will step you through
ProRes of course requires that you be on the Mac platform and that you have theProRes codecs installed.
If you examine the Black Magic Presets closely, I believe you'll find they're remarkably similar to the ProRes preset in the above link. About the only significant setting is the Video Previews. Or, I'd be curious if that wasn't true.
So, ProRes as predifined presets, no, they're no longer applicable in CS6. Black Magic is doing it for convenience, or because they're slow to update to the latest technology needs.
I should add that while a ProRes Sequence preset is of little advantage within Premiere, ProRes Presets for exporting from Premiere are VERY useful. Based on the above theory, this is where you go from Adobe's 4:4:4 32 bit color space inside Premiere, to a high quality, self contained media file.
AJA uses the V210 codec. PP, AE and Encore have support for this built in.