Craig Howard
Forum Replies Created
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I agree totally with Dave La Ronde on this matter and would add…why add the generations when a digital intermediate from AE is a great way to create the edit asset for PPro. ie export a D.I with alpha channel.
You are doing it backwards in your workflow..
But here’s what I don’t understand: why would you key in PP, then import the alpha-channeled footage into AE? Why not just do the whole shot in AE? Keylight’s a great keyer in AE. You have more control in AE. You can make it look more realistic in AE.
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There is “leading edge” and “bleeding edge” in these updates and “major” updates.
They roll out from Adobe regularly and its user choice how to manage them. Not easy but doable.
Its not compulsory to update..but waiting based on other experiences or cynicism can also be counter productive.
FWIW – I rarely to never have had any major issue (showstoppers) with updates. Currently running C 2015.4
That said – I would never update mid large project.
Win 10 CC2015.4 – (5 year old PC system stable and solid)
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My advice.
Forget laptops for video editing and go for desktops which are cheaper, more powerful, adaptable and easier to add on the necessary peripherals.
Like…. extra HDDs, powerful graphic cards, I/O cards eg BM Intensity , memory sockets, audio cards…….
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Seeing as you asked
I have never had that issue… now…. or in any version of Premiere.
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Little point I should make to clarify. My experience is in broadcast TV Commercials and my comments relate to this mainly.
Bars and Tone as a Reference..totally understood and have used it for many years..including post prod pipelines and edit suite set ups for monitors etc. We still use bars and tone from cameras and field sources as well.
Digital Delivery changed just our deliverable requirements
The Bars and tone generated by Premiere has always been accepted by the “broadcast gatekeepers” QC when we used it in analogue to set up machines for the inherent station dubbs from Master TAPE ie tape to tape.
Digital does not have the same set up. So what is the point of adding a perfect BARS and Tone reference to the head of a broadcast program that has been manipulated – CC, grade . The bars will always be legal and the program may not be.
Then…the broadcaster has to remove the content ahead of the program by a digital edit and dubb…that might incurr additional changes to chroma. luma etc.
This was a big issue when creating station dubbs from Master files through Final Cut Pro because the famous QT gamma bug issue and the gamma levels of the monitors used!
Keep in mind also that sound levels now have the added “Loudness Standard” which is not much to do with 1000 @XXdB setup tone at all.
In NZ…we deliver content via media servers. I upload online directly to the server and the content is QC;d.
They send a report back to me and then they deliver to the scheduled Broadcasters.They ask for: a legal video file with a legal loudness audio stream contained, in a few Codec or Format choices ( options).
This file is 1st frame content to last frame content only (exactly) They also ask for separate ID board and the filenames a re a specific protocol of key number. They do not ask for BARS or Countdown leaders. (They used to though)
The QC is entirely on the Video and audio. Why would a perfect reference board help in this regard.
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If you have PPPro…use the Camera Icon in the Source Monitor or Program Monitor to Export a “frame grab”
Source Monitor exports a frame grab as per source file.
Program Monitor exports a file as per timeline – ie with FX etc…PNGs are best file types.
You can enhance these files a little in PhotoSHop. eg sharpening (recommended), grading etc…but they still only have a rez of the original movie “capture” eg 1080p, 720p, 2K, 4K etc…
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Nested P in Ps inside PPro are far more immediate and provide realtime (playback) during editing stage
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Create a Simple Picture in Picture Sequence from 5 Nests to use as a preview
Craig Howard
Shooter Film Company
Auckland
New ZealandAdobe CC2014 Suite, Resolve
Windows 7-64 bit:Assus P6T Deluxe Mob, 24 GB BM SDI Decklink, . HD Workflows -
or…split your edit into 4 parts through 4 sequences.
I dont know anyone that would sit thru a 4 hour video no matter what it was about.! Just saying. Ha.
Craig Howard
Shooter Film Company
Auckland
New ZealandAdobe CC2014 Suite, Resolve
Windows 7-64 bit:Assus P6T Deluxe Mob, 24 GB BM SDI Decklink, . HD Workflows -
I am amazed that the U.K and U.S still use Bars on deliverables. ( ie Digital Deliverables.)
What possibly do they do with them?
If supplied as part of the “program file ” they would need to “edit” them off via an export.
If separate to “program file ” …what are they checking? !!!They serve no purpose apart from setting up systems and dubbing pipelines. Its doubtful they do either with digital files.
QC uses scopes primarily to check Luma and Chroma …and they have other criteria that are less critical but still noted in q.c apps such as Black Magic Ultra Scope.
Bars , tone and countdown leaders are gone along with analogue.
Craig Howard
Shooter Film Company
Auckland
New ZealandAdobe CC2014 Suite, Resolve
Windows 7-64 bit:Assus P6T Deluxe Mob, 24 GB BM SDI Decklink, . HD Workflows