[Carly Smith]

thanks Alex –
really its all of the above – rendering, exporting…all the heavy lifting. I just hate that editors have to stop editing and wait wait wait for things to render, and frankly, so do they.

but what about the network? If I network them together over Cat5, will that suck the life out of available bandwidth? Would prefer to use a stand-alone connection if possible.

We prefer the edit suites to not be online.

[Carly Smith]

This may be irrelevant – but why not create them in Photoshop (which preserves the transparency) and import them into Premiere?

That is how we do ours and if we need to change/edit, the dynamic linking in Premiere auto-updates the .psd file when we update it in Photoshop…

[Carly Smith]

Chuck –

EXACTLY the solution I was looking for.
🙂

thanks for the help.

CS

[Carly Smith]

Hi Richard –

Thanks for the input – we have a Decklink card for one setup, so that might be an option.

[Carly Smith]

Hi Ric –

Bought VidBlaster and am not impressed. It is such a resource hog that it bogged down workflow drastically.

Looking for a hardware based switcher, not software.

thanks, CS

[Carly Smith]

The sporting event is 03;55;27;29 or 423415 frames.

I guess I’m looking at 2 DVDs regardless…

so now the question is – can anyone recommend a good dual-layer DVD stock to master on that is compatible with many players across the board?

[Carly Smith]

I’ve had requests for spots in QuickTime/H.264, Mpeg-2, MPEG-4, and plain vanilla .mov with the regular codec.

It really does depend on the individual station, and some aren’t able to accept digital files through FTP and ask for a DVD so they can rip it into their system.

[Carly Smith]

Thanks to everyone for the suggestions. Bob hit it the closest – yes, we primarily use Mackie boards, but we are using all XLR in/out, not 1/4″ TRS.

We also get inputs from the locations we record in, so that could be (and has been) just about anything. RCA, 1/4″, Mini, and XLR.

I did find a solution in post: Adobe Audition 3 has a phase meter built in, so I ran all the audio through the meter, and it did identify which sections were out of phase.
Select the area, press Invert, Save and when you run it through again – back in phase.

So now the real question is: why did Adobe bundle the inferior Soundbooth instead of AA3?

[Carly Smith]

API error was all it said.

[Carly Smith]

I’m going to chime in because we hire those right out of school graduates, being a small company.

I can’t tell you the number of nasty emails we get when we specify Adobe-only. Lots of “get a life, you must be old, you don’t know anything about production” (and obviously those applicants go in the trash)
I had a kid argue with me *in the interview* that FCP was industry standard, and he had no job experience, it was just that his teacher told him that, so he accepted it as gospel.

Adobe for us is preferred because we have always been a PC shop. Thats it. We sold off our old AVID system and moved to APP, and outside of a recent snafu involving Quick Time, we have been pretty happy.

We keep one Mac in the studio to run Pro Tools for audio.

I’ll take an editor who can setup a multi-camera workflow and knows some strong After Effects. I want to hire the person who loves to edit, and who would go home and research the answer to an issue and bring it in the next morning.

My point is that any student with a strong demo that shows a range of skills and isn’t one long scene from his buddys indie film ALWAYS gets an interview around here.

ok, end of babble.