Alex Udell
1
Premiere Pro Coin
Forum Replies Created
-
What is your destination for the media?
-
Hey Vince…
Am I right in thinking that for DVD encodes, CBR maxed is the best option when you have the real estate on the DVD…
when you have to size conscious due to the quantity and length on content… then 2 pass VBR is the best option?
Alex
-
My guess is that you used screen capture tools to create your source media…
as such…your media has a custom resolution, format and compression scheme….
you likely dropped this media into a timeline that conforms to some video standard (like DV NTSC for example)…
this means that you’ll get red bars when pacing your footage in the sequence…because your media doesn’t matche the resolution sequence…it also means that when the the sequence renders, it’s rendering based on it’s resolution, not the resolution of the source media…
if you select one of your clips in the project panel…it will give you a basic idea of the resolution and Frame rate of the source file…
use this info to create a sequence that matches as closely as possible those parameters…then try editing with that….
Finally…where is this video going? You should be conscious of the final destination format…that can help you create a proper deliverable….
hope this helps….
Alex
-
There really is no fool proof solution to this that is easy….
while FCP and PPr CS4 and Avid via plug-ins do allow composite modes in the editing timelines…
Many times only portions of a final elements are comp’d with xfer modes…
flattening out via render and then relying on the other programs transfer modes means you’d be locked to using one mode for the whole element, not likely what you want…
Ideally it’s separate renders with separate mattes…which can be even more frustrating depending on the complexity of the design of the element in question.
Alex
-
Hiya…
I don’t think is an available feature of PPro yet.
I’d like to be wrong…so someone please correct me. 🙂
Alex
-
Hmmm…
that’s annoying about the dual boot thing for the Xena Cineform versus normal….
Alex
-
Vince that’s interesting…
How do you deal with Deinterlacing?
Alex
-
Jody…
Just curious why you’re not Dynamic linking your PPro sequenceinto Encore and then saving the encode for the end in Encore?
Alex
-
Hey Miguel…
I think you are hosed.
If you re-read my post….”if you are at picture lock” was a prerequisite of the workflow.in the future might want to save a copy of your sequence prior to doing the replacement…just in case…
in your ppro sequence with the AE replacement comp…
Make the changes on a higher video layer…
then copy just the new clips from PPro
Switch to AE and paste them in.
Thwey will then land at the right time in AE and you can finish the effect…
As you are updating the comp in AE…
the changes will now be contained in the replacment comp on the video track in PPro… so you can right click the clips on the upper track and disable them so you don’r see them, but at least those edits will still be there…
make sense?
Alex
-
Dave…
I should have been more clear….
Joe was saying he’s able to play multiple layers today…PIP boxes straight up are pretty easy to do….I was suggesting that he those changes on his existing system….
I have very little doubt that Mercury would rip thru that no sweat! 🙂
Alex