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Show all posts by userYour basic troubleshooting and discussion forum for all things about Adobe Premiere Pro CC.
Re: Red workflow - 15 years agoWhat they said, and try to get your hands on some test footage ( i.e. I got a small drivefull from a local camera rental house). You can then download Redcine (free) from their site and get started on how the basic process of importing digital negs, grading, and rendering works. The overall workflow is much more like film than video with numerous options, thus requiring a good bit of planning aby ClayC - Café LA Re: 4 Edit Suites FCS configuration - 15 years agoRui, for sure you know that the gear is pretty straightforward; 4 MacPros with a multi-user FCS license and a server solution with a truckload of storage. Maybe this helps in a different way: I think the question in a 4 suite setup is more a decision about what each suite should be able to do. There are basically two approaches: 1. do they all need to do the same work at the same tiby ClayC - Café LA Re: fcp versus avid - 15 years agoNope, no RED support for Avid. Doesn't sound like there will be anytime soon. For now, FCP and SCRATCH (whew $$$$) only. More over here: Clayby ClayC - Café LA Re: Replacing audio, will this work? - 15 years agoNick, Well, it works. We had to export the tracks individually, (not sure why, tried everything), but it saved a ton of time anyway. So, for the record here, 1. just synch the audio in a new timeline and export the audio tracks individually. Make sure durations are the same. 2. then open the masterclips in QT Player, strip off the old audio, and in QT Player edit>add the new trby ClayC - Café LA Re: Apple's Cinema Desktop HD - 15 years ago>>Btw, do those display interlace<< Nope. But an excellent inexpensive HD monitor solution. Over here they cost about twice a cinema display.by ClayC - Café LA Re: Apple's Cinema Desktop HD - 15 years agoHave a look at Eizo's Color Edge CE240W. We're currently running three of them off various Blackmagic cards. Beautiful for HD. They're more expensive than the Cinema Displays, but with a much better contrast ratio and certainly cheaper than a Broadcast LCD. Clayby ClayC - Café LA Re: Streamclip Nasty Surprise - 15 years agoKoz, have you tried Visual Hub? Amazingly fast. Useful features like batching, stich videos togther, encode and burn in the background in one go, etc. The early version was kind of buggy, and quality wasn't all that great, but they keep doing updates and it does keep getting better. For $23 IMHO about the best there is. Clayby ClayC - Café LA Re: Replacing audio, will this work? - 15 years agoThanks for the tips guys, gonna be at this tomorrow (Monday), one way or another. Meantime, thought of a different approach: What if I synch up the audio to the masterclips, then export a .wav (bwf multitrack), then quit FCP and just using QT player's edit functions, delete the old camera audio from the masterclips, and edit>add the new? Restart FCP and the masterclips and the subclipby ClayC - Café LA Re: Log and Transfer won't take P2 contents... - 15 years agoThere's a bugfix that straightens that problem out. I had the same situation awhile ago after an upgrade, and the solution was to head over to the FX Factory site, then download and install a patch. Check their support section or just write to them and you'll be back in business very quickly. No need to delete the plugs. hth, Clayby ClayC - Café LA Replacing audio, will this work? - 15 years agoInherited a project with a number of glitches. Here's the deal: We got 3 x 20sec commercials to finish up by next week, all shot and edited in DVCProHD 1080i50 from 2 tapes worth of masterclips. The masterclips were imported via log and capture and then busted up into subclips. Edits were created from the subclips. So far, more or less standard procedure. Thing is, there is dialog involby ClayC - Café LA Re: Needed - output 175 by 800 pixels - 15 years agoYou could do it quite easily in Motion. No problem to set up a custom size and pixel format. Use the basic Broadcast SD format and then edit>project properties for your custom settings and duration. In Motion, it is much easier and faster to animate and composite text, shapes and video than in FCP. You also have 3D layers, animated masks, cameras and lighting. Clayby ClayC - Café LA Re: Slightly OT: Where was that tutorial? - 16 years agoKevin, thanks for pointing me in the right direction. I found it over at the cow; Vanishing Point in AE CS3 by Aharon Rabinowitz. It's actually a Photoshop function, shoulda known. (Hey, what do I know, I'm an editor. Who stuck all this graphics stuff into my contract??) Works great, a very useful effect to use when they throw a still at you and say something like "here's our keyby ClayC - Café LA Re: Slightly OT: Where was that tutorial? - 16 years agoSome cool stuff there, thanks. But no, that's a tracker. The one I'm looking for let's you transform a 2D image into a 3D image. It's understandably within rather narrow parameters, but it makes pan/scan a whole lot more interesting.by ClayC - Café LA Slightly OT: Where was that tutorial? - 16 years agoPosted this over at the motion forum, didn't get answer yet so I'll try here: I saw a great tutorial recently and forgot to bookmark it. It basically involved an app for mapping grids onto a photo, and then being able to apply a virtual camera in AE (or was it Motion?) to move the photo in 3D space. Lenticular 3D I believe is the proper term. Can't seem to find it again. Anybody know wheby ClayC - Café LA Re: HD Finishing in Final Cut for a feature - 16 years agoJochen, how you online is going to depend a lot on how much fx work is inolved. I would think about doing the offline in FCP, the inital color grade and geometry in RedCine, then handing the files off to a digital post house for the final assemble, grade, greenscreens and fx work. You can download RedCine (free) over at the red.com site. Get some test files from a post house to give it aby ClayC - Café LA Re: HD Finishing in Final Cut for a feature - 16 years agoYou can't really fairly compare the D21 with the HDCam. It's like comparing the HDCam to VHS-C. Vastly different products. Have you thought about shooting on RED? Ludwig Kameraverleih here is Munich has 5 already in rental with 5 more on order. RED should be a good bit cheaper, and still in 3K or better if you want. Edit with the REDCODE proxies instead of DVCProHD. Clayby ClayC - Café LA Where was that tutorial? - 16 years agoI saw a fascinating tutorial recently, and then forgot to bookmark it. It was from a guy who had developed an app that can transform a photo into a lenticular 3D image, allowing you to move a camera and give a 3D feel to it, as in lenticualr photography. Does anybody know where that one is? Can't seem to find it again. Thanks, Clayby ClayC - Motion Re: Image sequences for animation - 16 years agoSettings: I'd use Animation, square pix, no field dominance. The size depends on what the animations were drawn in. We stick with 16:9 formats, and since we're delivering on DVD, usually finish the job up in 1280x720 prior to exporting to compressor. That's a "custom" entry in the size setting. Both Compressor and DVD SP retain the 16:9 aspect. Make sure in DVD SP that your projecby ClayC - Café LA Re: Image sequences for animation - 16 years agoHi Andreas, >>"one stop" import for image sequence<< yes, works the same like in AE. If within Motion you look up a sequence in the file brower you see a file name like BMW(####).tif1:200 indicating the name, a four digit numbering scheme, and then tif 1 of total 200 in the sequence. You import than into a Motion layer and it shows up as a clip. Clayby ClayC - Café LA Re: Image sequences for animation - 16 years agoI do some teaching too, graphics arts students who also learn the basics of storyboarding and then produce their own films within the semester to gain the experience of the entire workflow from an intial treatment to final presentation in front of a jury. We've done several animations thus far, all hand drawn then scanned as .tiffs, sequentially numbered and imported into Motion for further twby ClayC - Café LA Re: Drive went south, now wha -- help! - 16 years agoBen, yep, that's all bang on. Thanks for the link, fascinating read. I sent off for a quote, if nothing else it should be an interesting benchmark to follow. Cheers, Clayby ClayC - Café LA Re: Exporting HD footage as an uncompressed Quicktime for Tape Transfer - 16 years agoStrypes, Some good points raised. A few thoughts: Like I said, it depends on what the original timeline is. Generally speaking, a QT Conversion export will produce very good results. I oftentimes also drop sequences into an uncompressed timeline for final titling and certainly for cc, and play out to file from there. Getting back to the original post though, the project's going straightby ClayC - Café LA Re: Exporting HD footage as an uncompressed Quicktime for Tape Transfer - 16 years agoExport QT Conversion: no difference than dropping your sequence in a Blackmagic timeline and renedering that out. Same deal, it requires a render. Using QT conversion will place your timeline in a QT wrapper as opposed to a FCP wrapper when exported without conversion. The latter can in some cases be unreadable for external post facilities, especially if they're on Windows. I'd ask them firby ClayC - Café LA Re: Exporting HD footage as an uncompressed Quicktime for Tape Transfer - 16 years agoJust mark an in and an out in your timeline, go to export>quicktime conversion and select Blackmagic 10 Bit Uncompressed. Beyond that there are no adjustments available, nor are any necessary. Be sure to enter the size manually i.e. choose size>custom and enter your format. Give it a name and export. Pop the exported movie open in QuickTime player and use window>movie inspector to diby ClayC - Café LA Re: Drive went south, now wha -- help! - 16 years agoHi Ben, what about this thought: The way things are going, we're not going to be using optical external hard drives much longer at all. Solid state is where technology is headed, and for all the right reasons: smaller size, far less heat, far less power (5V), thus longer battery life on laptops, no moving parts, no loss in performance as the drive fills, 1 million hours estimated product lby ClayC - Café LA Re: Drive went south, now wha -- help! - 16 years agoJeff, Here's a bit of experience, might help: the symptoms you are describing (slow, stuttering perfomance) are typical of bad firewire connections and/or cables. A faulty or defective power brick (are you using the one that came with the unit?) will cause similar problems. Most commonly, the disk will unmount itself intermittently for no apparent reason. Did you check and clean all youby ClayC - Café LA Re: Talking Head Transitions - 16 years agoAlso try doing a fast zoom in, say for 3 frames or so, and adding a frame or two of white at the end. Adjust audio accordingly. Makes for a nice quick cut that signals a jump in time to the viewer.by ClayC - Café LA Re: Speakers? - 16 years agoMackie 1202VLZ Pro mixer. Mackie HR 824 Speakers on stands; plenty of power, very clean full sound, very fairly priced. Soundsticks in the offline bay and the graphics workstation. (I know, I know, but for rough cuts, they're fine and also cheap and seem to last forever and look great). Best advice: good audio gear lasts for many years. Buy the best you can afford, it will be with you forby ClayC - Café LA Re: Motion FEATURE REQUESTS: Post them HERE - 16 years agoPre-Composing, just like AE. Baking is too clumsy, file management becomes unnecessarily complex, tweaking a chore.by ClayC - Motion Re: Video Format Resources? - 16 years agoFields and interlacing and all that jazz was a technical work-around when video got started in the 1930's. They couldn't figure out a way back then to broadcast full progressive frames as were projected by film in a cinema. In a rush to get the new product to market, they comprimised quality for quantity, and the basic technology stuck. Differing broadcast standards emerged based upon it, thusby ClayC - Café LA |
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