Andrew Kimery
Forum Replies Created
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[Oliver Peters] “By setting up keywords for location, job type, etc. I could easily organize my clips for each group. So when the client asked for a clip of a female manager shot on day 1 in location B, I could pull up all of the options in the appropriate Collection. That’s because I had assigned these Keywords accordingly when the media was ingested. By doing that the media has been auto-sorted into a variety of appropriate Collections.”
Maybe there is a nuance that I’m missing because I don’t use X, but I’m doing something similar on a current project in PPro. I have Search Bins based on things like person, location, and type of footage (broll, interview, etc.,) and after I apply my keywords the media shows up in all the appropriate Search Bins. Adding Keywords can be faster in X than PPro but the end results seem very similar to me (media with the same keywords are automatically grouped together in a bin/folder and can live in multiple bins/folders at the same time).
Applying keywords to a range, as opposed to an entire clip, still seems unique to X and might be something that is inherently unique to X, but so far I really haven’t seen anything to go against Michael’s stated feeling about NLEs and databases.
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[Oliver Peters] “Collections and Smart Collections. Think of this as a relational database view of the information. Unlike a traditional NLE, multiple clips can simultaneously appear in different Collections or Smart Collections, based on the keywords you’ve assigned or the sorting criteria you’ve established. This isn’t possible in a regular NLE, unless you create a sub clip for each alternate location.”
How is this similar/dissimilar from Adobe’s Search Bin? If I make a Search Bin in PPro media, sequences, etc., will appear in both their original location plus in the Search Bins, and the Search Bins will auto-populate as new media/sequences are created that meet the search requirements.
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[David Mathis] “Could it be Sppedgrade is no more? An impressive list but what does Apple have in store?”
I bet it will still be there but probably hasn’t been touched. Premiere will support control surfaces (Tangent Element, Wave and Ripple were named specifically) and that’s huge from grading perspective.
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Hopefully this means AME will always run in background even if you are actively working in PPro.
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[Brett Sherman] “And as such, having slightly off-axis interviews or different framing adds visual interest. In fact, I thought there should have been more of that kind of thing. And perhaps you are reacting to the, “One of these things doesn’t belong” element, which is admittedly problematic.”
The thread meandered a bit but below is Simon’s original criticism from his first post.
[Simon Ubsdell] “The degree of engagement between the viewer and the person on screen is fundamentally and ineradicably dictated by the angle of that person’s eyeline to camera. The closer the eyeline is to the camera the greater the degree of engagement. It’s such an obvious point that it’s almost embarrassing to have to spell it out.
So why in the name of heaven do so many “directors” think it’s effective to shoot their interviewee from an angle that favours their ear?????????
I’m not saying that we should be shooting the interviewee talking straight down the camera lens (which feels awkward because it’s just a bit too intimate), but for heaven’s sake!!!!!
“Basically, off axis is good. Varied framing is good. Straight down the lens might be too engaging. What is so important about that dude’s ear?
In the posted video the ear shot and the long shot of the older gentleman in glasses both feel out of place an ineffective to me. Both shots are of excited people trying to get me to care about what they care about, but their emotions are largely wasted because their faces are obscured by poor framing. On a 40ft theater screen it would be less of an issue but I doubt this video was made with the intention of it primarily being shown on a 40ft theater screen.
It’s obvious someone wanted something different but different for the sake of being different doesn’t always lead to something better.
EDIT: cleaned up some grammar and spelling.
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Here’s a link with a bit more info.
Definitely cool conceptually though their still cameras never seemed to gain much traction relative to the initial “whoa, that’s cool” buzz they got at launch. The camera looks massive (like a broadcast camera you’d see at a sporting event), has data requirements up to 400gigs a second, and a base rental price of $125,000 so it’s certainly looking to carve out a niche at the upper end of the pro market. I wonder how well it would intercut with Arri Alexa footage or 35mm?
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Frame.io panel from Adobe just dropped.
Below is a write up about it (as well as a new video which explains it in more depth than just the teaser from before).
https://www.provideocoalition.com/frameio_premiere_pro
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[Simon Ubsdell] “I can understand the need to try and vary the shooting style for creative effect … goodness knows I’ve shot enough of these things over the years. But the basic misunderstanding of the visual language really bugs me.”
This I think hits the nail on the head. It’s wanting to be different for the sake of being different without understanding (or understanding but just not caring) how camera position can subconsciously impact the audience.
I know there are some people that say the only rule is that there are no rules, but you still have to understand how shot composition, lighting, etc., impacts the audience if you want to effectively communicate with them.
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[Monica Stevenson] “I just read your answer to the post about Mercury Playback. I am trying to update my ATI Radeon HD 4850 512 MB driver, but can find NO WHERE that has a Mac driver, just Windows.”
The default driver supplied by Apple might be the only one available, but Mercury Playback requires a GPU with at least 1gig of VRAM if you are using Adobe CC or newer.
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[Bill Lattanzi] ” the OWC drive needs to be reformatted by disk utility within the mac…”
This. The problem is in how OWC formats the drive, not in the drive size. I have a 16TB RAID5 unit (four 4TB drives) and PPro didn’t see it until formatted it in Disk Utility.