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Show all posts by userYour basic troubleshooting and discussion forum for all things about Adobe Premiere Pro CC.
OT: QT 7.1 and BWF - 17 years agoI think most of you did not notify that QT 7.1 now reads the timecode, or better the samples after midnight for many BWF files. Currently they do not make any use of it and it is not documented anywhere, but it's a good step towards a better workflow. Hope that this post and the previous mails I had with Apple will even move more. Andreasby Andreas Kiel - Café LA Re: Subtitles from FCP to AVID - 17 years agoMat Dee wrote: > No, I'm sorry Andreas I do a lot in Photoshop but unfortunately > i don't know much about apple scripts. Thanks for your help > though. No problem, but if you do a lot with Photoshop, you may have a look at the samples for scripting, which come with PhotoShop or are availble. Andreasby Andreas Kiel - Café LA Re: Subtitles from FCP to AVID - 17 years agoLoren Miller wrote: > Belle Buit's been around for ages! Forgot about it. Never > thought of it as an exchanger. It works fine since it can read XML and outputs EDL plus the files you need. > > You describe an interesting workflow, but a lot of steps. They > stay editable in Avid or come in as PSD's? They are PSD's, the script I described does save two versions - one as a real PSby Andreas Kiel - Café LA Re: Subtitles from FCP to AVID - 17 years agoYou should try Belle Nuit as well. Also, if you know a little about AppleScript you can use my TitleExchange to create a STL from the FCP sequence and then use PhotoShop scripting to create high quality subtitles from the STL and then use an EDL to transport that into Avid. There are some advantages going this way, since you can create editable subtitles. So if you know a little about AppleScripby Andreas Kiel - Café LA Re: production sound workflow - 17 years ago> thanks, that makes sense. so after all the question is which > application is the stupid one. the one that doesn't read QT > files or the one that doesn't notice filename change ... > ... aaah, good question, I think it's the one which doesn't make use of actual software technologies. Depending on the direction you're going, it might be be a different one - if Titan is not abby Andreas Kiel - Café LA Re: production sound workflow - 17 years agoHi Markuse, Sorry I was a little bit short and somehow wrong in my reply. The trick with the renaming is: Keep your original BWFs somewhere, then work with the converted QT files in FCP. If the QT files are named .wav or .bwf FCP doesn't care, it just works fine. After you're done with editing export the EDL, which refers just to file names. The "stupid" edit software will take everythby Andreas Kiel - Café LA Re: capturing audio from DAT player into FCP 5.1 - 17 years agoBe sure to have "black" video as ref connected to the Decklink and then use a standard setting with video capture disabled. Andreasby Andreas Kiel - Café LA Re: production sound workflow - 17 years agoYou can try a 'virtual mixdown' by nesting each audio clip. So you got both: the access to all original tracks and the 2 track mix of it. To work with "stupid" other edit packages rename the the .mov to the original .bwf or .wav - then use an EDL or just rename in the EDL. This works fine. Andreas Post Edited (05-10-06 06:03)by Andreas Kiel - Café LA Re: Arriflex 416 workflow - 17 years agoI don't know many, who doing that for HD, but a good idea is to use a camera video out while shooting, which can save you some time and money prior to telecine. A audio HD recorder instead of a DAT is a good idea as well. But don't expect super 16 to have higher resolution than HD video, depending on the negative material you're normally below that, but the color depth and the look is still betteby Andreas Kiel - Café LA Re: slightly OT: text files for credits - 17 years agoHi, Just do the editing in Word the way you like to see the credits and send me the Word file and I'll do it for you - for some money ;-) Since you probably don't want - do the editing in Word the way you like to see the credits, save the Word file as a big PDF (huge height/long page format). This may do the job in FCP (depending on the length/height) - it will do it for sure in AE. Regards Aby Andreas Kiel - Café LA Re: Printing contents of the Browser window - 17 years ago"Hey, Jude, don't make it bad" (Sorry ;-) I had to use this salutation, because of your name, the song title, the current thread) A screen shot really could be a bad idea - especially using cmd-shift-3, cmd-shift-4 and pressing space bar is the way better method, but: this might not capture all of the needed - or wanted- information unless you got a 40"x 40" or bigger screby Andreas Kiel - Café LA Re: XML - 17 years ago> AH. I didn't know you could double click those to import. > Some other options beside double-click: Drag the XML to the browser Drag the XML to the FCP icon If you modified the XML in TextEdit, you can: Not double-click it, but: Drag the XML to the browser Drag the XML to the FCP icon And additionally you can click on the icon of the (saved!) file in the TextEdit title bar and: Drag tby Andreas Kiel - Café LA Re: XML - 17 years agoShane Ross wrote: > Don't double-click on it. Import it with FCP. Shane - wrong answer ;-) - both is the same , if not - there is another bug. But FCP 5.x XML version 1 is not the same as FCP 4.x XML version 1. @ stefan: You have to check for things in your project/sequence, which are not available in 4.x, remove those and then export the XML V1. Not a big help, but a start. Regards Andreaby Andreas Kiel - Café LA Re: Color Correction Across Dissolves - 17 years agoNick Meyers wrote: > i;m not sure i understand the circle analogy, > what would it look like, andreas? My non native english catched me again. Another try; look at the color wheels - wheels are like circles. A keyframe change from B to Y1 will make his way thru MG, R instead of making it thru B , Neutral to Y1. This will only be an issue, if you apply a global (keyframed) CC to the cuts.by Andreas Kiel - Café LA Re: Color Correction Across Dissolves - 17 years agoThere are downsides: the hue values are working in a "circle", so if you change hue from one clip to another one there won't be a linear change of values this is very obvious within the transitions and could show very bad results. Andreasby Andreas Kiel - Café LA Re: Clip enable; transitions - 17 years agoNick, Your suggestion sounds much easier, but that way you probably will "toggle the bad state". So every enabled one will be disabled and the other way round. Regards Andreasby Andreas Kiel - Café LA Re: Clip enable; transitions - 17 years agoHi, You can do via XML export/import, though there is the risk that you catch filters as well. Export your sequence as XML and open it with TextEdit, go to Find menu and type "<enabled>FALSE</enabled>" for the search string, "<enabled>TRUE</enabled>" for the replacement string and then hit "Replace All", save and re-import into FCP. Andreasby Andreas Kiel - Café LA Re: Chapter markers and the number - 17 years agoIt's the chapters place in the timeline. Regards Andreasby Andreas Kiel - Café LA Re: Sync - 17 years agoHi Iain, As I'm the author of the mentioned BWF2XML in the article John mentioned here some notes on the BWF format. BWF is just a WAVE file with some special metadata attached. So it doesn't have a QuickTime timecode track, but it has a timecode stamp included within the metadata (which is counted as audio ticks after midnight). Importing those files directly into FCP will always result in a stby Andreas Kiel - Café LA Re: Raid, The Dilemma - 17 years agoArnold, > Why would you consider a Raid 1 (4 drives say) rather then > keeping the drives as separate drives and just keep a back up > on one drive, when that's full go to the 2nd, when that's full > go to the 3rd and so on? You can do that by hand, a RAID 1 will do that without your interaction and finally for 2 drives each. > what actually is the advantage of a Raid 1? am I misby Andreas Kiel - Café LA Re: Raid, The Dilemma - 17 years agoHi, > Thank you for the great explanations of the different Raids. > Most helpful. Glad to hear > > Couple more issues that confuse me: > > Raid 1 (mirrored) .. backs up a Raid 0 (stripped)? Right. Backup should always go to a safe storage - so not mirrored to striped. Copy the stripe volume to a mirror one would be the right way i.e. 0 to 1 > > I assume that the datby Andreas Kiel - Café LA Re: Raid, The Dilemma - 17 years agoJust a few words about RAIDs and data security, maybe it helps Data loss can happen any time, you just can make it more likely or less 0 = data striping, fast and unsave. With each drive you add it is more likely you will lose data one day 1 = data mirroring, quite save but no real speed enhance, though there could be some since bad blocks are handled way faster. Still if one drive in each of theby Andreas Kiel - Café LA Re: Painfully Slow G5 with Final Cut Pro - 17 years agoI think the FireStore is your problem - are you really working with those files directly, or did I misunderstood. The FireStore - as any of this kind of devices - uses a FAT32 file system, which is the sloooooowest file system you can use on a Mac. So copy the files to a Mac formatted HD, before using them. Regards Andreas P.S. DV format needs rendering because of the embedded audio, QT files dby Andreas Kiel - Café LA Re: FCP->XML->filemaker pro - 17 years agoHi, >> It would be helpful to find information that is not too high-tech but rather written for general consumption. Unfortunately that doesn't exist Depending on the FCP version you're working with you can use my XML2Text to transport XML data to tab delimited text, which can be imported into FMP. The newer version (still not released) does even a better job, since it does read far moreby Andreas Kiel - Café LA |
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