[David Cherniack]

Sorry I don’t drop in here as much as I’d like. The to and fro is endlessly amusing and even sometimes informative.

Just a few corrections about Premiere Pro because many here seem to have taken your comments to be true when in fact they’re sometimes completely or partially wrong.

[Shane Ross] “The fact that FCP can output 23.98 as 59.94 via any hardware option (AJA, Decklink, Matrox)…the PLAYBACK option sets up the signal feed you are sending the card. Avid rigidly sets it to the”

Premiere does this with all hardware options that I’m aware of.

[Shane Ross] “Copy and paste clip properties.”

If you mean groups of audio video effects, it does this.

[Shane Ross] “The ability to deactivate clips…keep them on the timeline but make them invisible. Or silent.”

Most certainly does this.

[Shane Ross] “Output a split track digital master (Avid can do this…Adobe? NOPE!!)”

I think 6.0 does this. with up to 8 tracks.

[Shane Ross] “Log and Transfer… You can mark IN and OUT points on the footage you want…you don’t need to ingest the full clip. Avid have this? No…well, yes, if you go through like 15 steps and transcode. Adobe…yes, if you use Prelude”

You can do this straight within Premiere, too.

[Shane Ross] “The sheer about of plugins and effects I have. In Avid, I’m severely lacking. Adobe is getting better, thank GOD FX Factory works there too. Still, pickin’s are slim.”

Slim? Hardly. Most AE plugins work in PPro.

[Shane Ross] “Can capture and output to tape via a hardware card. DIRECTLY into the NLE. FCX…NO! Adobe…not really.”

Yes, really. Using Matrox, Windows. I can’t say for sure about Mac.

[Shane Ross] “Ability to modify timecode of clips, and it change it on the QT file”

Can do, though I’ve never tried it in a QT file because QT is excrement in Windows.

David

David
AllinOneFilms.com

[David Cherniack]

Yes, nasty tracks, Precious, we hates them, hates them. They makes us think and it hurts our head, Precious.

David
AllinOneFilms.com

[David Cherniack]

Another way of saying ‘the pro in all of us’ is ‘prosumer’. But I think that would be like red flagging a bull in these here pastures 🙂

David
AllinOneFilms.com

[David Cherniack]

Ahh Mark, if wine is a metaphor for un-reality shows and the Napa vintages for mis-labled docs, I’ll stay with the scotch, 12 years or more old, and infrequently as I can get hold of one.

David
AllinOneFilms.com

[David Cherniack]

[Mark Raudonis] “It inspired me to go pour myself a glass of wine!”

It inspired me to contemplate the shifting sands under the phrase “feature doc” and then contemplate having a scotch.

David
AllinOneFilms.com

[David Cherniack]

“CoreMelt have said that keyframing points may be possible in a future release”

‘Finally’ is sounding more and more less than final. But who needs key frames, anyway. They just complicate things.

David
AllinOneFilms.com

[David Cherniack]

[Bernard Newnham] “In what way was Windows annoying?”

Probably for the same reasons I find OSX annoying – it’s repellent to my sensibilities.

David
AllinOneFilms.com

[David Cherniack]

[Jim Giberti] “I’d just call it exceedingly confident beyond the point of reason.”

I’d call it the blather of someone whose wishful thinking has outrun his brains….a fairly common feature of these here dominions.

David
AllinOneFilms.com

[David Cherniack]

[Walter Soyka] “What’s your workflow now, and what’s the specific problem you’re running into? Maybe we can be more helpful without speaking in generalities?”

I was experimenting with DLinking sequences of EX 1080/23.98 to AE and applying 32 bit color grading. It seems the best YUV way back to Premiere is what I suggested before: rendering the AE comp in AME and importing into Pr. Rendering the DL’d section in Premiere seems to use the AE rendering engine, though I haven’t run any tests to verify because I’ve been having inconsistent timeline preview rendering problems in Pr that cause it to crash.

David
AllinOneFilms.com

[David Cherniack]

Thanks, Walter for your replies.

[Walter Soyka] “You must adjust the depth of the output module separately from the depth of the project. The default output module stays at Millions of Colors and must be adjusted to Floating Point to preserve overbrights in supporting formats (like OpenEXR, TIFF, or PSD).”

OK except the FP option does not exist for AVI codecs that function within YUV space in PrPro and normally will handle above 1.0 whites.

BTW for a discussion of PrPro’s handling of YUV and RGB:

https://forums.adobe.com/thread/825920

David
AllinOneFilms.com