Creig Bryan
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Assuming you have some clips on the timeline, is the track turned on and visible?
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As a certain helmeted character used to say: “‘Veeeerrrry Intearesting.”
If I’m to understand Norman correctly:
Drag clip from project, not to source window, but directly to timeline.
Use usual methods to determine the piece within the clip to be utilized.
Razor the clip twice: at the desired start point and at the desired end point.
Use ripple edit to expunge unneeded portion before start point.
Use ripple edit again to remove unneeded portion after end point.Contrast this with Craig’s method, as stated in prior post. Hmmmmm….
As to which method is more intuitive, I forsee a hung jury. Depends on perspective, background, prior training/learning, etc. It’s subjective.
As to which method is more efficient, I believe the edge would go to Craig’s method. Less keystrokes, mouse moves, keyboard shortcuts, etc.
As to which method is safer, Craig’s method wins, surely, hands down. A single change to the timeline is better than three changes. Three steps forward(timeline drag to insert entire clip; razor #1; razor #2) and two steps back (ripple edit unneeded clip ends, twice). This method shifts the timeline 3 times, introducing a chance for error three times. (A note: Behind the scenes, a change to the timeline requires ADOBE to recalculate all edit points after said change, then store those numbers back in the virtual, in-memory copy of that fragile, guargantuan XML project file.)
I usually use the razor tool to divide a sound clip (on the timeline) into sections, for the insertion of synced (or other) material. Little else.
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Sounds more like Ppro’s ability to drag the edit point, diminishing one clip, whilst lengthening the adjoining clip. Because PPro is single track editing, the description given above doesn’t quite fit it, but instead, seems a more appropriate fit for A/B editing.
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There were certain problems in 7.0 that were healed in 1.5(7.5). Pesky little things, that often stopped the program. But 1.5 mostly contained enhancements and additions that many thought should have been in the 7.0(1.0) product in the first place.
Most people welcomed the upgrade(update).
Since that update, PPro has had another update, 1.5.1, assumedly only for HD issues, but some say some small snags were addressed as well.
Encore also had 2 updates since 1.0, one to parrallel the PPro 1.5 release, a second to address some errant encoding issues.
You might/could get along with 7.0(1.0), but you will soon want to upgrade.
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“…the final output quality will always be
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Yes, it will take as long. But, if there’s not a lot of fast movement(racing cars, karate kicks, light-saber fights, or really, really fast talkers), you would do well to reduce the quality setting to between 2.5 and 3, instead of the default value of 5. You will not be able to easily ascertain a difference(unless there is fast motion).
This will substantially reduce the transcode time, but still, do not expect realtime.
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Yes. It is easiest. I’ve heard you can also buy/use other software(DVD-Lab, I think), but (I’ve heard) it’s let reliable, with a longer/larger learning curve-not as user-friendly.
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You probably need to expand the track(vertically, using the appropriate arrow, on the left of the timeline window, next to each track), so it shows the transitions in the upper half, as well as the clips.
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Hunh? I thought AE used Time Remapping, nonexistent in PPro…
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In 1.5, the use of Pin-to-Clip is not necessary in this case, because the transitions appear (properly) in the ECW. Merely drag the beginning and ending keyframes to their respective spots(the head and tail) of the clip. Lasso vertically aligned keyframes(i.e. motion/anchor point and scale) and drag them as one.
For multiple use, save as a preset, and when applying this preset to future clips, you have the option to have the keyframes automatically adjusted to the length of the new clips. More details are available in the user-manual.
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