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All the news now and in your digital future
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Your basic troubleshooting and discussion forum for all things about Avid Media Composer
Re: Premiere Pro and Nvidia GeForce 8800 GT (Mac Version) - 10 years ago
As always, Harry, happy to suggest things. Especially for such a gentleman. Glad you're enjoying the switch - the multi codec thing and not having to transcode and render all the time were great leaps for me too. A couple of my other favourite things that you might want to look into - • The rate stretch tool - this is a godsend in my current project where we're doing a LOT of speed rampby Jude Cotter - Adobe Premiere Pro CC
Re: Premiere Pro and Nvidia GeForce 8800 GT (Mac Version) - 10 years ago
Also, see how much you really need it, Harry. The software only engine in Premiere is pretty snappy. We have a bunch of older Mac Pros at a job I'm at - one with a pair of very high end graphics cards and the others with average to nice cards, and the only time we really notice the difference is when intensive graphics grunt is required. Most of the time, doing general cutting, you might justby Jude Cotter - Adobe Premiere Pro CC
Re: Learning Premiere Pro CC 2014 - 10 years ago
Well in the interests of small children everywhere .. Pretty much any tutorials that deal with CC will be OK for you to learn from. The things that happen in later versions tend to be additional functions, not radical changes to the way things work. I liked Maxim Jago's stuff at although I think he releases stuff through Lynda now. Lynda is also good. And for the free stuff, check oby Jude Cotter - Adobe Premiere Pro CC
Re: Overlapping clips and EDL export - 10 years ago
If you just shift drag each entire line down, it should overwrite what's below it. I would trim it just for sanity sake at the other end.by Jude Cotter - Café LA
Alpha matte creation in PP - 10 years ago
I've got to add some textless elements to the end of a program for HDCam export, so I'd like to generate an alpha matte to go with the semi-transparent lower third. All my attempts so far leave me with a too-transparent bar when re-assembled. Does anyone know the proper way to do this in PP? It's a simple fade on bar with a feathered edge, and a logo that pushes outside the edge of the featheby Jude Cotter - Adobe Premiere Pro CC
Re: Pro Res in FCP7 vs Premiere export - 10 years ago
I find that queuing the export and running it out through Media Encoder much quicker than exporting right out of Premiere. Also, you can stack your exports there and keep working in PP at the same time.by Jude Cotter - Adobe Premiere Pro CC
Re: Transcoding .MXF files for FCP7 - 10 years ago
Also, you could cut it natively in Premiere while you're trialing it. MXF files don't need transcoding in Premiere. Just turn on the FCP set of keys in the keyboard shortcuts and get the job done right easy like.by Jude Cotter - Café LA
Re: Cost Effective Mini DV tape ingest for FCP7 ??? - 10 years ago
Yes, or one of these, which is even cheaper : Many people worked with these for broadcast for a long time. The DSR 25 is better if you can find one, because it has meters and a small monitor, but the DSR 11 would do the job fine.by Jude Cotter - Café LA
Re: Syncing up, then cutting out 2-pop? - 10 years ago
You can do it right out of FCP, and not have to go to Compressor. Just choose the timeline, then go to File > Export > and make the choices for what you want to export from there. The resulting file will have the audio and the video in the one file.by Jude Cotter - Café LA
Re: Syncing up, then cutting out 2-pop? - 10 years ago
Are you trying to create MPEG-2 Files? That's a muxed codec. Just adding sound to a video file is not really muxing. The system that you're using sounds fine for what you're trying to achieve, except, what codec are you actually trying to make? You might not need to go to compressor if you just want a copy of the file with audio added and the pop(s) removed.by Jude Cotter - Café LA
Re: The cost of editing is becoming perpetual. - 10 years ago
I can see where people are coming from, but in reality we also 'rent' our phone service, electricity, gas, water and so on, paying a monthly or bi-annual or whatever fee mostly for the privilege of having the service, as well as for usage. I dunno. It just doesn't bug me not to have decades worth of software to feel bad about throwing out in the future. It's cheaper, it gets upgraded more ofby Jude Cotter - Café LA
Re: The cost of editing is becoming perpetual. - 10 years ago
However, I own every version of FCP, and Premiere CS6 (which would have cost in around $3K in the production premium set except I got it on special) but I don't use them at all anymore. So was that money better spent just so that I could own all that software sitting on the shelf? Do I really need to buy CC so I can have it on my shelf next year when I buy the new version?by Jude Cotter - Café LA
Re: Any way to anchor a shot’s motion to another shot? - 10 years ago
In FCP7... hmm ... does the shot actually need to be moving? Could you make the shot and the insert into freeze frames?by Jude Cotter - Café LA
Re: Editors have you ever received this request? - 10 years ago
>>For most situations the "roll tape" command from the control room was enough time for the tape deck to get up to speed and the element to start on picture and allow for a switcher to cross or cut to the tape.<< And, later, enough time to get your fingers out of the way when they remote rolled!by Jude Cotter - Café LA
Cinema 4D in AE - 10 years ago
Does anyone know if it's possible to build an interactive 3D background in AE using Cinema 4D? I know almost nothing about it but I'm hoping we can use it to replace ray trace in some ways, especially because the lite versions is integrated into AE now. Can it make 3d objects that are able to be manipulated in AE, or does all the animation have to happen in C4D before import into AE, and allby Jude Cotter - Adobe Premiere Pro CC
Re: Ray Trace on new Mac Pros - 10 years ago
Will be cool to see how you go Ben - I'm happy to experiment at home, especially if I can get a better result for less money. Russ - personally I don't think it's a good idea to buy old tech. It's already outdated for current workflows, really. You're better off jumping forward as far as funds allow, I think. Completely up to the individual though. We will be doing 4k in the near future atby Jude Cotter - Café LA
Re: Ray Trace on new Mac Pros - 10 years ago
What's the main thing you need it to be able to do well, Russ? I've seen a bunch of specs where it shows that in some cases it's not that much of a bump from the iMacs, and in other cases where it's really worth it. Here's some reviewsby Jude Cotter - Café LA
Re: Ray Trace on new Mac Pros - 10 years ago
I know! I'm getting very close here at home. Of course I can't trust someone else's business to one though.by Jude Cotter - Café LA
Re: on-set audio recorded too low, raising volume = hiss - 10 years ago
Sideways thinking - if the scene is pivotal and you really can't fix the sound, how about leaving it low and adding some subtitles in those areas? A bit distracting, yes, but better than having the whole thing not make sense for lack of a scene.by Jude Cotter - Café LA
Ray Trace on new Mac Pros - 10 years ago
So, we've been researching new gear for a workplace I'm at and they're happy to get the highest spec of everything on a new Mac Pro (if we can actually get on the back order list) but one of our motion graphics guys has found reviews that indicate that we won't be able to use Ray Trace 3D in Ae because the Mac Pros only ship with AMD cards, not nVidas. We use ray trace a lot at the moment inby Jude Cotter - Café LA
Re: Finishing in Premiere - 10 years ago
Can you try going through the Media Encoder by hitting 'queue' instead of 'export' in the export window to see if this makes a difference? I've found AME to be WAY faster than a flat-out export in the last CC bump on a 2010 Mac Pro. If there's still a problem, maybe try exporting an intermediary file doing less compression at once, like a pro res - then go from this to MPEG2.by Jude Cotter - Adobe Premiere Pro CC
Re: Premiere CC questions - 10 years ago
Yeah the sync thing has to be contributing to the problem. Are the in-out markers off by the same number of frames as the out of sync markers are indicating?by Jude Cotter - Adobe Premiere Pro CC
Re: Syncing XDCAM rushes in FCP - 10 years ago
My interpretation is that they cut the film without syncing to the properly recorded audio first, so it's cut, and there's sound, but it's just camera mike sound. Now they want the correct sound files added to the cut. If it's a long piece this could be quite painful. I would think it's going to be about using the match frame key a lot.by Jude Cotter - Café LA
NAB News : Premiere and AE updates - 10 years ago
New stuff includes Live text templates so you can edit text in AE compositions inside Premiere Auto mask tracking for witness protection in Premiere - no more exporting to AE for that either! Master clip effects - apply an effect to a single clip, then choose to have the effect applied to all instances of that clip GPU debayering for R3D materials Native handling of ARRI Amira, Sby Jude Cotter - Adobe Premiere Pro CC
Re: FCP 7 AND MOTION 4 FADE UP AND FADE OUT banding/artifacting/CRAP! - 10 years ago
Don't go to H.264. Banding is common in lower res formats, especially in gradients.by Jude Cotter - Café LA
Re: Finishing in Premiere - 10 years ago
Ohh, you had the M&E - that's brilliant.by Jude Cotter - Adobe Premiere Pro CC
Re: Finishing in Premiere - 10 years ago
Yeah, we're in AE, not PP. Exporting final comps to PP. Sorry, should have clarified. The clocks apparently were set to the same server, but they have different names (?) So.. not sure if that is still part of the problem. It actually hasn't happened for a few days. Maybe we got an update and I didn't notice. How did you do the phase inversion extraction? That could come in really really hby Jude Cotter - Adobe Premiere Pro CC
Re: Finishing in Premiere - 10 years ago
We're not dynamic linking, but it's still murder on several of the machines (clearly the ones without the GPU grunt) We have a set of series templates where we insert footage into provided boxes on a shifting 3d field, and the background is bent into a curve using ray trace. We have to turn it off to even work on some machines. But I'm thinking that the 3dness might be part of the reason it can'by Jude Cotter - Adobe Premiere Pro CC
