Andrew Kimery
Forum Replies Created
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[Dan DeStefano] “The footage I was working with that I converted was AVC-Intra 444 1080p.”
How fast is your storage? By going from AVC-Intra 444 to ProRes 422 you cut the data rate dramatically so it could be that your storage isn’t fast enough for it.
Of course nothing is magical, and there has always been a penalty for editing with a camera native codec, but Adobe has made it more viable than many other NLEs. I’ve been using PPro for the last 3yrs or so and I’ve always gotten good enough performance from my ’09 MP that I never felt the need to transcode for editing (granted I haven’t worked with that AVC coded yet so I don’t know how it would perform).
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While it lasts, a YouTube link for Homer if you weren’t able to catch live last night. A little stilted at times, not the crash and burn of Microsoft demoing Kinect Avatars a few E3’s ago.
Simpsons – https://www.youtube.com/watch?v=jM9o6dKpWB0
Microsoft – https://www.youtube.com/watch?v=pXN7vLPsDSM
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[Robin S. Kurz] “I think Stephen Colbert may be using it, too. ;)”
Hey, can’t argue with God. lol
-Andrew
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The Delta ones are fun, but the below from Squatty Potty has to take the cake (I mean ice cream).
https://www.youtube.com/watch?v=YbYWhdLO43Q
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[Darren Roark] “I read your other post, agreed that it’s a crazy time where a seven year old computer can become useful again by purchasing a card for it.”
Speaking of this, what’s you take on the new cards Nvidia just announced? Greater performance and lower power usage compared to the Titan X. I know one of the stumbling blocks to getting more powerful GPUs into the old MP’s was that the factory power supply just wasn’t designed to handle the load, but these new cards could give the old MP’s yet another lease on life.
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[Bill Davis] “Back when I was starting out in the video dark ages, my clients had to ship hundreds and hundreds of VHS tapes to client stores. “
My first foot in the door was a dub monkey so I am well acquainted with miles and miles of video tape. First place I worked at had 13 decks (mix of VHS, BetaSP, DVD player/burner, DigiBeta, 3/4″ and 1″) but only a 6×6 router. That required some creative cabling on more than one occasion! haha
I’m not sure which was worse though, making piles of VHS tape screeners or the early days of DVD screeners where you had to use the remote to enter chapter info/labels one character at a time. Just thinking about it gives me a repetitive stress injury!
[Bill Davis] “I’m sure Premiere Pro will (or perhaps already has?) accomplish(ed) their own implementation of the Share destinations thinking that X unveiled along with X back in 2011.”
It was either PPro 7 or 8 I think.
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[walter biscardi] “I think the point that X tries to keep everything self contained within the one application, especially with the wealth of plug-ins and tools, is a valid one. That’s an excellent option for many editors who don’t want to deal with multiple apps and it does a great job of being an all-in-one tool.”
I agree, but I don’t think it’s a concept unique to X. For example, my first NLE was Avid (which very much has its roots in offline editing) and I remember trying Premiere (not PPro) and FCP back at the the turn of the century (I love saying that) and being surprised at how much more you could do inside of those NLEs (compositing, key framing, gfx/still manipulation) out of the box than you could in Avid. And when FCP got the 3-way Color Correction in FCP 3 (or was it 4?) holy crap that was amazing.
[Bill Davis] “Correct me if I’m mistaken, but in the Adobe suite, when you change modules, aren’t you in a distinct interface? You leave the premiere layout to work in Speedgrade, for instance? Same with AE, Audition, whatever. Basically, you are moving one program to another. They interchange well, but they each must be learned separately.”
If you go to AE or SpeedGrade, yes, the UI is different since you are in a different program, but Adobe has been cherry picking tech/functionality from AE and SpeedGrade and putting it directly into PPro for years now. Adobe is expanding the functionality of PPro while at the same time making it easier to roundtrip between apps in their suite. It’s not an either/or situation for them.
When Apple launched X I seem to remember them saying they saw X more as platform which I took to mean that Apple would supply base/broad spectrum functionality and then leave it up to third parties to fill in the niches, and I think we are certainly seeing that play out. For example, getting FCP 7 projects into X was solved by a third party as was getting better connectivity between X and Motion. When Apple added 3D Text I was kinda like ‘meh’ but then when third parties got a hold of it they started doing some cool things with that functionality. In the NLE space I think leaving so much up to third parties is unique to X and it is working out for them.
One reason the plugin space for X is so vibrant is because plugin makers don’t really have worry about their plugins being made obsolete by Apple introducing the a similar feature. For example, 7toX is always going to have its place because Apple isn’t going to add that functionality to X. The color grading tools in X probably aren’t going to get improved either so it’s safe for third parties to spend time/money in making better grading tools for X.
On the flip side, in PPro 2015 Adobe really improved the color grading tools inside PPro so that kinda puts them at odds with the grading plugins Red Giant offers. This might be why X upgrades from Apple will be fewer and further between because first party tools aren’t as inherent to the software’s usability since it, by design, has such a robust plugin community supporting it. That, AFAIK, is certainly a unique path to take in the NLE space.
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[Duke Sweden] “Does that work the same as syncing multiple camera sources?”
Yes, it uses the audio to do the sync so as long as the camera(s) are recording sound too you are good to go.
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Premiere Pro has PluralEyes functionality built in. Highlight all the clips you need, right click, “make multi-cam source sequence” and in the thread below Herb talks about the differences between the different audio setting options.
https://forums.creativecow.net/thread/3/975940#976003I wouldn’t suggest using ‘merge clip’ as that can cause problems such as being unable to use the match frame feature to match back to the source clip.
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Might be an odd corruption specific to that project or to your install of PPro. Have you tried reseting your preferences (details in link below)?
https://www.versluis.com/2015/06/how-to-reset-user-preferences-in-premiere-pro/
I’ve been using PPro for a few years now and I haven’t run into the behavior you experienced (and I use markers often enough that the Marker Window has a permanent spot in my window layout).
With regards to clicking different places in the time line, you are seeing the difference between clicking on a totally empty track and clicking on a gap between two clips. The gap highlights because it can be deleted via a ripple delete. There’s nothing to edit/manipulate/select in the totally empty track which is why it doesn’t highlight when you click on it. Shift+click will also unhighlight a highlighted clip/gap in the timeline. You can also adjust your video track height to give yourself some dead space between the top video track and the numbers/hashmarks at the top of the sequence window and clicking in that dead space will also unhighlight anything in the sequence that is highlighted. Shift+Command+A will also unhighlight everything (that’s more a universal OSX command, Command+A is ‘select all’ and Shift+Command+A is ‘deselect all’).