Alex Udell
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Premiere Pro Coin
Forum Replies Created
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Nice one David!
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The reverb will be extended if you apply this as a track effect in the mixer as opposed to a clip effect to the clip.
Alex
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That should say “Shift” ….. I wasn’t intentionally cursing. 🙂
Alex
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The fact that H264 makes small file sizes at high quality is great.
But the amount of CPU necessary to decompress and display frames for editing is a lot.
As of CS5, I believe, that the decompression and pixel aspect ration scaling of the frames are handled is handled entirely by CPU….so the GFX is not going to help you there.
Add Color correction or other fx…that’s where the GFX will have an impact, but in your case, that means it wouldn’t necessarily degrade playback further.
It is also my understanding that GFX does more under 5.5, which might help you out some.
Alex
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place one title on the timeline with the transition you need.
Copy and paste that wherever you need a lower third.
Prepare all versions of the lower third in the Title tool.
(in the Project panel, if you select a title and hit Cntrl Shit / it will duplicate it)
then you can use ALT Drag from the project panel to replace the title on the timeline with the correct titles, and this will leave the transitions in tact but replace the title.
Alex
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the process of removing the green is called chroma keying.
chroma keyers are tools that use a combination of controls (i.e. parameters) to determine the level transparency of a pixel in an image
based on the settings, the chroma keyer internally creates what is called a “matte” (or alpha) where:
pixels that are meant to be opaque are set to white,
pixels that are meant to be transparent are set to black
and those that are meant to be semi-transparent are set to some level of gray between black and white accordingly.
most keyers have a setting where you can see not only the result (your original image minus the green/blue) but the matte output as well.
as such, by simply “INVERTING” the matte or the key, a control found on keying fx, the matte negates itself and the opposite pixes become transparent..(black becomes white and white becomes black in the matte)
thus if you shot someone against a blue or green screen, keyed out the green, then INVERTED the key, the key hole would be inside the matte instead of outside the matte.
so you could do an inverse key on a higher video track and put your filling image on a lower video track….
now if you want to key the green, fill the matte, and still place the whole thing over some other background….that gets a bit more complicated, but that can be done too…much of it in Premiere Pro too.
However, if you get into a much more detailed level of work, you might consider moving the project in to After Effects. It’s controls are geared much more for pixel level polishing.
Hope this conceptually helps…
Alex
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You can set scratch disks up however you want.
2 philosophies are:
1) Common location for all projects: this allows you to purge that entire folder quickly to regain disk space, but the down side is that you blow away renders for projects you may not want to and have to re-render them again.
2) Same as Project – this will create your render folders/files local to each project file so it assumes that your project file should be stored on something fast enough to play media and have capacity enough to store a fair amount of it. But this also means that you can blow away only the renders for a particular project without disturbing others more easily.
Alex
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make a “black video” in the project panel.
load it into the source viewer and set it to the duration you want.
now hit the , key a bunch of times to lay to down on the timeline.
Now you can use page up/down to jump to each edit point and hit ctrl + k to add the edit to you audio.
Alex
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“The other editor’s files don’t work at all, and the timelines are totally wrecked — she edited putting markers in the video files and then dragging the resulting clips onto her timeline.”
Need some clarification here.
Did she use duration markers in FCP?
Did she “make sub clips” from markers and then edit with those?
I don’t really know the answer except that apparently XML doesn’t translate that to well.
Hopefully by adding a little clarity someone can chime in…
have you asked on the FCP side?
Alex
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I agree, working with finish quality material is always preferable. But I’d say your more at square 1.5 or 2.
Being able to make iterative creative decisions with predictable feedback during the editing process can be facilitated with the use of proxies.
Spending the money on Neoscene is the best choice. But offline proxies are a good “free” way to deal with what you need to deal with initially.
Alex