Carlitos
Forum Replies Created
-
Which XENA card you have?
Premiere only works with the HS.
-
Everybody is talking about FCP eating Avid alive and Premiere’s weak media management compared to Avid’s as strong marketing and selling points.
Well, I work extensively in several NLEs and one of them is FCP.
FCP’s media management is NOT much better (if it’s any better) than Premiere’s one.
For a boutique I find Premiere’s MM, if not magnificent, adequate.
-
And no, I don’t work for Cineform — just another one of those fortunate people who discovered it, love it, and now highly recommend it.
.- Cineform ROOOOOCKS!!!!!! Is the best upgrade money can buy for HDV.
-
“Someone was trying to be helpful and you jump all over him.”
.- No, someone didn’t understand what I want, because, apparently, that someone didn’t read clearly what I wrote and meant.
Everybody is explaining me the same old and tired Sequence trick, Like I’m not aware of it.
Well, just for everyone to know:
1.-I already know the “Sequence trick”. I’ve known that for Centuries.
2.-That’s NOT what I need nor what I want.
And I didn’t jump over him.
“Dont be inauthentic Carl, you are not sorry at all.”
.- I never insulted anyone here till the unneccesary and clearly offensive “Medication” message.
I’m complaining to ADOBE. Is my right and I’m using it.
If you don’t want to complain, and the alpha channel is enough for you, then don’t complain and be happy.
But the Alpha Channel is NOT enough for ME. I expected much more from a new feature, even more coming from the same Company that makes AFTER EFFECTS.
DO NOT try to take off the sacred right to complain from anyone else.
And I do appreciate any help.
But to hear the same “sequence thing” over and over… …that’s not helpful
Anyway, my messages are not for YOU but to Adobe.
Nobody else can help in this SPECIFIC issue but them.
And the only weapon I got is my SACRED RIGHT TO LOUDLY COMPLAIN AS A CONSUMER.
-
“Adobe no-doubtedly has a good business plan and certainly makes great products (Photoshop, Illustrator). However, my guess is that the reason Premiere Pro hasn’t made it to the top is due to its lack of basic editing features.”
Yes, You got it right.
For me is more important a very good Media Management than Multicam. I’ve managed to improvise workarounds for Multicam for Years, but there is no workaround for a weak Media management.
Another example, the ability to Lock/unlock the layers from Keyboard shorcuts is something more appealing to me than, let’s say, Lighting effects, which I use ocassionaly.
And, I use Knoll light factory for that kind of effects.
But I lock/unlock layers A LOT. Everyday, Everytime.
I really hate to use the mouse for that.
-
“Have you ever thought about pulling your sequence into another sequence and then adding your effects in there?”
.- Man, sorry for my rudeness but
Which part of “What if You don’t want (I usually never want to) to put the desired effect(s) all over the ENTIRE sequence, just 20 clips or several groups of clips.?” do I have to explain better?
“I was hoping that it was like an adjustment layer in after effects, but it sounds like it isn’t”
.- Well, you can be absolutely sure it ISN’T.
-
No problems opening a 1.5 in 2.0, but I don’t know about the reverse.
.- No, you can’t do it in reverse.
Once you open a 1.5 project in 2.0 and make any modification to it, you won’t be able to open it back in 1.5.
-
I find the Vegas interface weird, non-standard and clumsy, is different than any other NLE I’ve ever used (and I have used a lot).
If you get acustomed to Vegas, I think is gonna be hard for You to easily switch to any other NLE.
To make a simple subclip is hard labor.
Personally, I don’t like it at all.
It doesn’t have a Source monitor, only that is more than enough for me to not like it.
It looks more like a modified Audio Editor than an dedicated and genuine NLE, like Premiere.
Thumbs down for Vegas.
-
There’s a different way to do this in Premiere:
.- Sadly, There is no way to do THAT efficiently in Premiere. You have to copy & paste effects clip by clip.
what you do is create a separate sequence (call it Master, if you like) – drop your existing sequence into it as a clip, then apply your color correction (or any combination of filters) to the embedded sequence.”
.- Thanks for your sincere desire to help but this is not the answer and is not what I expected.
Have You ever wanted to put the same color correction, or the same effect over an entire sequence?
Not a lot, I’m sure.
What if You don’t want (I usually never want to) to put the desired effect(s) all over the ENTIRE sequence, just 20 clips or several groups of clips.? What if you only want to equally blurr 25 clips and equally color correct five groups of 17, 25, 32,20 and 8 clips using the same color correction?
In Avid, You only have to cut a portion of “Filler” to the desired length, put whatever (Any) effect(s) You want and ALL the clips (Whatever number of any length and ALL THE LAYERS) beneath the “Filler” will be affected. You can put as many effects and “fillers” (with differents effects) as you want in the same sequence. You can even cut the Filler with the effects already on it.
Instead of copy an effect and paste it one by one over several clips, you cut a layer, add your effect ONCE and put this very layer over all the clips you want.
Voila! You can, for example, “rezise” 20 clips at the same time with only one adjustment.
You can put two different color corrections in the very same sequence by editing two different “Fillers”.
In Avid’s case you don’t even need to generate the layer, is already all over your Timeline, The “Filler” is the adjacent material.
Man, I only “wishfully” expected this “Invisible layer” to be like the Avid’s implementation or at least like the “Adjusment layer” in After effects, but it is not.
Not even close.
Just an ordinary and simple alpha layer.
Thanks for your concern, but no.
-
Goodbye Carl (We all hope your medication will make you better soon)
-. Nice going!!
Because you have nothing valuable to say, offenses are good.
It’s because comformist people like you that things doesn’t improve.