Andy Lewis
Forum Replies Created
-
By far the worst damage was done by duct tape but then masking tape also pulled the floor up.
I’ll give “Real” gaffer tape a go – I’ve only seen it for sale here in video equipment rental places (I’m not in the US). Also, about painter’s tape – very short term is fine. We only have the lighting up over the weekend then we have to take it down. I’ll get both and test overnight in an unloved corner of the building. Thanks!
-
“And clip markers move with clips.” Which is why they are so much more useful than sequence markers. In FCP as well though, they felt like the poorer cousins.
In Ppro you can’t edit a clip marker from the keyboard, you can’t edit a clip marker without stopping playback and you can’t extend the range at all. You also can’t see clip markers in the markers window without selecting clips.
-
“I want to hit play and mark up selects on the timeline without the stopping”
I agree with this. FCP7 had an “extend and edit marker” keyboard shortcut. Although to be fair, you couldn’t use it with clip markers.
When I first saw Ppro’s marker window I thought it was excellent – then I realised that it only shows sequence markers – it should show all markers in a sequence.
And what is it with Premiere and stopping playback? To edit a marker I have to double click on it, and not only does playback stop but the playhead shifts to the marker before grinding to a halt – why? I can’t think of any situation in which that would be desirable behaviour.
It’s possible that Prelude does all the above better than FCP ever did but I can’t use it as nearly all projects start with pluraleyes and xml. Maybe if Premiere projects could be sent to Prelude that would work. Or how about bringing Prelude functionality into Ppro – like with the new colour tools?
-
Isn’t this just a question of physics? When you crop the image to 1080 you are only using a small section of the sensor. You are effectively using a smaller sensor. And we all know what small sensors are like for noise.
EDIT: I just noticed you suggested that as a cause.
-
You sound people not providing a camera-audio guide track – are you using timecode sync? If I was relying on the camera audio for sync I wouldn’t be a happy bunny to find it not there.
I know where you are coming from though. As an editor, I once sent some interview footage to a post house in London with the lav on the left channel and the boom on the right. It was highlighted in the file name and in the accompanying email. They released it with the sound like that.
-
“Here’s how I understand it to work (and I can’t find any info otherwise): If you select a clip, hit “copy,” then hit “paste,” the clip will be pasted in the lowest selected target track. If none are selected, the clip is pasted in the same track as the copied clip.”
If anyone has a solution to this I’d like to hear it. Adobe has gone through a huge list of frustrations typically felt by ex-FCP editors. In my opinion, this is one that remains. In FCP you could put all the squirrel footage on track 1 and all the hovercraft shots on track 2 and that’s your track organisation finished, if you want it to be. Everything stays on the same track unless you decide otherwise. This is especially good if you edit mostly with the keyboard.
In Premiere you have to turn tracks on and off pretty much every time you paste, to no benefit that I can see.
I think what would fix it is if having no tracks selected was “clips paste into the same track they were copied from mode”. Right now it is “clips paste into the same track they were copied from but you can’t do anything with them mode”.
-
Honestly the last suggestion (I quite like shot fixing). Sometimes the cure is worse than the disease – you’ve kind of fixed it so the brightness shifts are less extreme but they now look more unnatural and distracting. In this case, duplicate the layer with the corrected version on top and lower the opacity until the changes become less obvious.
-
One final thing. As well as asking camera operators to try not to knock the aperture during shots – ask them to get a couple of minutes of cutaways for every scene – the flowers, close ups of faces, guests in silhouette against a window. Then you can cut to those whenever the shot goes wrong. Apologies if you’re well aware of the above and it’s just too late.
-
If you’re going to keyframe changes, I’d suggest doing it by looking at scopes (YC waveform) rather than the image.
Are they static shots? I’d assume not if the operator was changing settings. If they are static though, you could crop the image to a continous area like a wall and keyframe to keep that line on the scopes in the same place. -
OK I’ve found a way to make it work. What happens is – if you are in trim edit mode and you use the space bar as play/stop it loops around the edit point and you can use keyboard trimming. For some reason though, toggle trim mode is disabled.
In order to get fully functioning dynamic trimming you need to press “play around”, not “play”. You then need to have “loop” switched on or it will play post and pre-roll once and then stop.
Ah well, at least it’s working now.