With that hardware, you should be fine using the original media. Leave Cineform out of it.
Yes, I can edit the original media just fine on my system... but that's not the point.
Using Cineform AVI files (which are 10-bit), gives more headroom for color-correction etc. Cineform also has an application called Firstlight, which makes use of active metadata. This means I can make substantial changes the look of the footage in that application (exposure, color balance, aspect ratio, framing, zoom,contrast, saturation, gain, gamma, custom looks, etc), and the changes are non-destructive and updated instantly in Premier Pro, without having to render. If I don't use Cineform AVI files, then I have to do all of that in Premier, which requires a render, and that is destructive.
Sorry, that's the best advice I have. I just don't know enough about Cineform to troubleshoot problems with their files.
On a side note, like most NLEs, PP is a non-destructive editor. Even when rendering, the original files are left intact and unaltered.
In PPRO, there are arguments that there aren't any advantages transcoding to a 10 bit codec. Here is the background info related to the concept (I can't find the background info directly from Adobe...there is an article somewhere):
Transcoding it to 10 bit will not magically increase the bit depth of the material. It will just put those levels that used to be 0-255 into a 0-1023 grid. But there will be no pixels with the value 1, 2 or 3 (or 17, 18 19) in the 10 bit file. You will get pixels with levels 0, 4, 8, 12, 16, 20 etc., but none in between. So when pushing this in post in 32-bit, you get EXACTLY the same result at when using the original.
Here’s the reason why so many people get this wrong: It doesn’t work this way in FCP! FCP (until FCP X I presume) tricks you into working in 8-bit color with 8-bit footage, and to work in 10-bit color with 10-bit footage. Premiere Pro is MUCH smarter. It lets you work in 32-bit color space no matter what bit depth your footage has!!! Yes, that’s 32 bits per color, floating point. The Gold Standard of color processing!
So when color correcting or compositing 8-bit material in Premiere Pro, you will still get those in-between pixel values that you want to get from working in 10 bit. And they will be more accurately represented because of the 32-bit color space.
Of course, to retain as much as possible of the perfect colors you get from working in 32 bit with your 8-bit files, you need to export to 10-bit or higher. But even when going back to 8-bit your quality will beat (or at least match) everything you can get from converting your files first.
All interesting points...
However, Firstlight's use of active metadata is a compelling reason to transcode using Cineform. If First Light is part of your workflow for 2D or 3D, then you have to use Cineform AVIs. And again, if color correction needs to be done, and time is important to you, then First Light's ability to do instant color correction and instant application of LUTs is a massive time-saver.
If you're not familiar with First Light, take a look at this quick tutorial. The active matadata means that any changes you make to a clip in First Light, are instantly visible (without any rendering) in any application that uses the clip:
I see your point. I hope you get everything working with MPE Hardware...I know it can be frustrating when things don't work as expected. Wish I could help. Best.
Thanks for trying... much appreciated. Hopefully Adobe will come up with a solution at some, not too distant point.
We are actively working together with Cineform investigating this issue. FWIW, turns out this is not a Premiere Pro SDK issue, as was originally mentioned.
When I open the multi camera monitor, I get a green screen for a millisecond, then black. I am guessing that my hardware is woefully slow. I have a brand new macbook pro 13 with 4gb of memory. I am still within my return window at best buy, hoping (against hope) that I could get the job done with this machine.
I am wondering if you can tell me what I need to get in the way of specs for a macbook pro that can handle hd two camera work?
I am still within my return window at best buy
Go for it. Windows is much better (and usually cheaper).
Any news on this issue? Can we expect an update/patch anytime soon?
I'm not at liberty to speak for Cineform, but I can say that our working with them has been productive, and the fix lies not in Adobe code.