[Dave Friend]

Hi Tim.

Thanks for that. I am aware of that feature but it’s not quite what I was thinking. What I have in mind is to be able to re-scale the display’s area much the way Audition zooms the waveform display in the vertical direction. For instance, if we assume (dangerous I know) that it currently reflects 0dDfs at the full height of the waveform display area I would like it to instead reflect other values. For example, where full display height is at -9dBfs.

This is fun.

Dave

[Dave Friend]

1. Keystroke to focus the Monitor Window
2. Keystroke to focus the Project Window
3. Keystroke to focus the Timeline Window

4. A keystroke to select the clip under the CTI in the timeline window, eliminating the need to click it with mouse.

5. A keystroke to move a clip from the bin to the source window.

6. Keystroke to trace/match frame from a reference clip in the source window to the master clip and bring it to the source window.

7. Multiple bin windows and a keystroke that will walk through the open bins. Should probably be the same keystroke from wish #2 but once the MRU bin is focused subsequent key presses moves you to the next MRU bin and so on in a circular fashion.

8. ABILITY TO CAPTURE DUAL MONO AUDIO TRACKS AND NOT JUST STEREO!!! (I’m sorry for yelling – please forgive me but this is important.)

9. Allow the rolling edit tool to completely roll over a clip. It really bugs me that I have to zoom in and delete the last remaining frame of a clip before I can roll onward. I’m a pro, I know when want to get rid of something and sometimes I want to do it by rolling over it – all of it. (I really wanted to yell here but was able to maintain some decorum.)

10. Some method other than Automate to Sequence to add the default transition to a group/range of clips. I want to do this after the clips are on the timeline not in a bin.

11. Preference for setting the default alignment of transitions. For an old fart like myself several decades of tape editing means transitions always Start at Cut. Why are you making me adjust this every time I add transitions?

12. The info that appears in the tool-tip when the mouse hovers over a clip on the timeline (source in, out, duration timecode) should be displayed on the clip all the time.

13. Zoomable (on the vertical axis) audio waveforms on the timeline.

14. Integration with AE, Audition, Encore and Photoshop that is so tight it seems like one big happy application.

15. What everybody else in this tread has or will mention.

Dave

[Dave Friend]

[Ron Shook] “Can you or anyone say whether CBR is also preferable because it has a contant bit rate and is less likely to choke a marginal player because the bit rate is all over the place with VBR, particularly a VBR where minimum and maximum rates are acres apart?”

Hi Ron,

I can not say with certainty. My gut feeling is that wide swings in bitrate should not cause any particular problem even for marginal players. The max rate of the file is readily available to the player and it should be setting up buffers accordingly.

I have not seen any more problems with VBR than with CBR in regards to playback skips and/or picture break-up. If the situation you wonder about was common then I would expect to see more problems with VBR than with CBR discs.

In either case I think playback problems are usually because of throughput issues – the player just can’t pass the data fast enough. (Data Constipation?) It could be because the system can’t process the data fast enough. But my feeling is that most of the time it is because the player has trouble reading the disc. That can happen at any bitrate but problems do seem to get worse as the bitrate increases.

Dave

[Dave Friend]

There is no override. Now you understand why I was asking about your audio bitrate in the other thread. The combined audio and video bitrate may not exceed the DVD spec max rate. Most people use 9.8 Mb/s as the max total bitrate.

[Dave Friend]

What is your audio format? If it is mpeg or dolby at what bitrate? Your max 9,800 could be trouble if your audio rate is at a high rate too.

If you want, subtract the audio bitrate from a 9,800 and try that for your CBR. I doubt that there will be much if any visible difference from the VBR you describe.

This title will be replicated from a glass master created from DLT tapes?

[Dave Friend]

Alan,

I think Ordinal 406 refers to a code segment in the dll not to a font. Somehow you have the wrong version of PREMINFO.dll on your system.

Maybe a complete uninstall and make sure that PREMINFO.dll is gone before the reinstall might help. You might also try the Adobe knowledge base before hand. Perhaps you’ll find advice there so you don’t have to try the un/re install dance.

Hope this helps.

[Dave Friend]

Have you tried a self-contained QT file? It’s a pain in the butt I know, but I have seen many application that have trouble with QT reference files so it may be worth a try.

Dave

[Dave Friend]

Jeff,

My opinion is based on an encoder “shoot-out” I devised and conducted in-house. A short sequence was cut together from a variety of sources. It included scenes that can be problematic for mpeg encoders – shots with fast motion, slow zooms on highly detailed and moving subject matter, computer generated animations, text on a subtly gradated background, text keyed on video, and slow dissolves between scenes with opposing motion. The edit was exported as an uncompressed avi. All the videotape sources were captured uncompressed via SDI. All animations were rendered to uncompressed files from the application they were created with.

The sequence was run through every encoder I had or could lay my hands on. The encoding parameters used (bitrate, GOP size and structure) were identical for each encoder. They were, in no particular order:
Canopus ProCoder 2.0
TMPGEnc 3.0 XPress
MainConcept (as found in Adobe Encore)
Ulead (in DVD Workshop 2.0)
Ligo (as found in discrete edit 6.5)
Cinema Craft Basic (version 2.69.01.10)

It was also output to Digibeta and encoded through a Sonic Solutions SD-1000 real time encoding card

[Dave Friend]

Try creating a “dummy” track to be used to set a gprm with the info you need to return.
Any given dummy will only be used by one button.
The button over the video connects to the dummy track, the pre-script of the dummy sets a gprm with a numeric code – whatever makes sense to you and then connects to the the “more info” track.
The more info track has end end script that evaluates the gprm you set at the dummy, use the jump on a conditional functionality. You need one conditional statement for each track that might use the more info track. Only one of the conditionals will be true and so you connect back where you came from.

Make sense?

Dave

[Dave Friend]

Jeff,

You need to set-up each movie as a seperate encode project and submit each project to the batch function.

Hope this helps.

Be sure to check out the Cinema Craft Encoder too. Personal opinion is it’s the best available.

Dave