[Bill Hilferty]

For another clip with a different watermark which was arguably even tougher since people’s legs were moving behind it,I exported a JPG sequence and tried removing it in Photoshop using Generative Fill. I even set up an action to process every frame. Each frame looked great on its own, but playback was completely unusable. I ended up switching to Runway for that one as well. Might be fun to try Topaz next and see how it compares.

[Bill Hilferty]

thanks so much! I ended up using Runway ML’s remove object tool and told it to remove the watermark. it worked good enough for our purposes!

[Bill Hilferty]

Thanks for the response but none of that helped.. Weird. On my less powerful mac it actually seems to run faster overall… Project loads the 5,000 items in a flash on my macbook pro but it takes up to 3 mins to load them on my PC with better specs. And then that thing in the video. Any other ideas!??

[Bill Hilferty]

I have another windows pc running 64 gb, basically an identical system except a locked processor and gtx 1070 vs 1080. Could if be a graphics card issue?

[Bill Hilferty]

Thank you, very interesting article, will have to check out that film.

We are currently working on cloned drives and passing project files. There is a problem though, say that he edits a sequence in the project and/or happens to randomly make a note on some clips, while at the same time I am logging on my end and creating a selects sequence. At the end of the day we will have two projects. If I open his up and want to bring in my logged footage via media browser, I can do that, however this will create duplicate media. So I go to delete the media that is unlogged, but his sequence is referencing certain clips from this media so If I delete the media to replace it with mine, it will delete media from his sequence. On the other hand, If i were to take his sequence in to my project, it will create duplicate, unlogged media.

It seems I will just have to tell him to keep better track of what he does so at the end of the day I can merge the projects with knowledge of work done. Or perhaps we can try sending xml/edl of his sequence and linking to my media.

I just wish we could have two projects open, and he could have his own project with sequences referencing clips on physical disk rather then clips in the browser. Like FCP 7 could do. I feel stupid that I am having this though but can’t seem to find anyone else on the internet in the same position!

We tried teams, but he is remote so internet connection not so good, and teams has no way of local saving if there is an issue with the connection. There are also horror stories of people losing full days work because of sync issues. I’d rather avoid that, at least until it is out of beta!

[Bill Hilferty]

Thank you Oliver for taking the time to respond.

Unfortunately a project for each interviewee wouldn’t work as there are multiple and most of our footage is of the verite sort so it relies on being logged by content and category.

Maybe a simpler question would be is there a way to merge logging data from a set of clips in one project to a set of identical clips in another project?

In other words, If we have a master project in which the director cuts stuff and makes the occasional marker note on a clip, then we have my project in which I am solely logging clips, Could I bring in my logged clips (or just the text log data) into the master project somewhat efficiently?

I know there has to be people out there using adobe premiere CC for long-form documentary projects, with multiple users.. How are they doing it!!??

[Bill Hilferty]

Hi, what do you mean by “delete the image”?

[Bill Hilferty]

Thanks for the reply,

Unfortunately I get an error when trying to use background. “The Production Services Engine was unable to make a connection – login error.”

I have it enabled and am connected to the internet.. Any idea what this may be?

[Bill Hilferty]

Thanks for the response!

A Little update, however.. Turns out the client did not transcode to prores and has all of the h.264 footage (!) from a Canon 70D synced in pluraleyes. Now I can’t export from pluraleyes to avid because it didn’t originate in avid.

That’s not my problem now though really, I figure I’ll resynch in avid or do a new roundtrip to/fro plural eyes 3.5 – not a huge problem.

What I am struggling with is the best way to get all of this media INTO avid. They have it all organized on a finder level by day, name of interview subject, broll category, CAM A, CAM B etc. The original Canon camera structure is intact (DCIM/100 CANON) within this organization but I’m unsure if any of it can be retained or if I should remake it within Avid.

Currently I am Creating folders in Avid that mimic the folders in finder and separate bins within these folders for CAM A and CAM B. I am then AMA’ing the media in these bins then doing a transcode from within avid. The only problem I am seeing with this is that I actually have to transcode for each bin.. Instead of doing some sort of batch import/transcode that I can let run over the weekend. Is something like this possible or do you or anyone have any suggestions on a better import workflow when a bunch of footage is already organized at a finder level?

[Bill Hilferty]

Thanks for the reply..

Our sequence settings have always been Apple Prores 422 1920×1080 23.98. All the same as our footage. However we did not use Boris Title 3D but just the default FCP title generator. Is there significant advantages to using Boris Title 3D.

Do you think the aliasing we saw was just because we were so close to the projection screen then?

Thanks!