Daniel Christie
Forum Replies Created
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You probably want to find out the exact size of the mattes used so your composition matches. ‘Scope’ hasn’t actually been 1:2.35 for decades. These days it’s actually 1:2.39 (but we call it 2.40). Who know’s what they’ve actually used, but here’s how to work it out for a 1920×1080 square pix. project;
1920 is our width, so divide that by 2.39 to get the height of the scope frame;
1920/2.35 = 803.33
to get the height of each mask (top and bottom), divide this by 2.
803.33/2 = 401.67
Which will have to be rounded to a whole number, since we can’t have half pixels. Round up to 402px, this will be the height of each of our two masks leaving us with a picture that is 276px high.
This same equation can be used for 2.35 or any other aspect ratio. If you are not sure of the exact ratio, you could just set up some guides at 402px and 678px, let your design overlap a little and let your client mask it.
Hope that helps you out.
Daniel
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2 hours is going to require a fair amount of compression. Since the final output is to be replicated and not duplicated, why not build for DVD 9 (dual layer)? That way you will be able to maintain a high datarate and fit everything on the disc comfortably. Deliver an iso image on HDD or have it transferred to DLT, or even burn a DVD+R DL. Personally, I wouldn’t choose to master to DVD+/-R especially for such a big run.
Cheers,
Daniel
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Sorry not Express, Media Composer
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Yes, that is what I thaught and that is exactly how it is working in my After Effects Projects, but not in PP2 for some reason :(. I wonder if it could have anything to do with the way my bins are arranged- sub bins etc, but the order it asks for clips in seems pretty erratic.
Daniel
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I too do not want to see Soundbooth take the place of Audition in the Premuium Production Studio. The beta version is totally mickey mouse. Infact, even Audition could do with some more features so it can be integrated into a true proffessional A/V workflow. Where did Adobe get this idea that Audition is hard to use? They should stop wasting thier resources on reducing functionality and put some more effort into supporting the same professional production formats that other applications like FCP and Protools already support. Professional standards such as OMF, DVCPRO (HD). Or are they trying to lose thier professional customers?
My 2c.
Daniel
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The networks seem to be staying within Title Safe and even 4:3 safe less and less even though they are still broadcasting in 4:3 on analogue. How many sets these days actually cut 20% (I have one that is about 10 years old and comes pretty close)?
Action Safe it seems is the new Title Safe.
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Tiffen white Promist 😉
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I agree, Willie I am happy with that workflow if I am working on one clip, but to work on an entire scene or even an entire program, it is unsatisfactory. Essentially, my qualm is that there is no way of exporting audio out of Premiere and importing into Audition with handles. This is essential when working with video programs for making cross fades between shots and scenes.
Audio only OMFI with 50 or 60 frame handles is an industry standard and it is very disappointing that Audition does not support it, or an alternative, even between Adobe apps. No one wants to have to do audio editing in Premiere before it goes out to Audition.
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meant to say DYNAMIC LINK not bridge
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The 6600 gets a mention, though they say nothing about LE. I’m running a similar system. Interested to hear what sort of performance you get with SLI.