David Cherniack
Forum Replies Created
-
Joe, you didn’t read my post very closely. I was referring to Premiere not having a graphical keyboard interface for setting shortcuts. The interface in Premiere is just a glorified list. You can load and save different settings but it’s not as intuitive or easy as working with a graphical representation.
David
AllinOneFilms.com -
Well, exactly. On your system…whatever hardware + CS4 + whatever else you may, or may not, have been doing wrong. But Pr CS4 was not Adobe’s, or their third parties, finest hour.
David
AllinOneFilms.com -
Scarlet is 20k+ for most uses.
The batteries in the 14k package are for the hand grip. Two of them are not going to last a day’s shooting unless it’s very light. Then add glass.
The canon’s price, when I saw it caused me chuckles galore. But then I was expecting a few hours later to hear about a 3k fixed lens Scarlet for less than 10k. Red’s announcement just caused me disappointment. It’s a completely different form factor.
David
AllinOneFilms.com -
[Thomas Frank] “Premiere (can’t say much sine it wouldn’t play any ProRes footage right)”
Uh..try to avoid genralizations that are misleading. I know plenty of Mac Premiere users who have no trouble playing ProRes files. The correct way to state your experience is “since it wouldn’t play any Prores footage right on my system.”
As for keyboard shortcuts in Premiere it has the vast majority of functions covered, but not all. However, the interface for them, while getting better, is nowhere near as good as the keyboard graphic that other NLEs have. This is a holdover from PrPro 1.0 and an an example of the Legacy effect that I’ve brought up in this forum before:
Whatever is in 1.0 of an NLE is hard to get changed. The focus of development is dictated by marketing and is on adding new features, not making old ones better, unless they really are a problem for the great majority of users.
David
AllinOneFilms.com -
Philipp,
If I didn’t want to understand I wouldn’t have asked you to explain it.
So, if I understand you properly it’s a HDCam file you wish to export, not a tape. (you haven’t been clear about that at all, you know).
You’re right 5.5 offers a limited number of output channels.
David
AllinOneFilms.com -
[Philipp Hampl] “And: for the external monitoring issue: see adobe premier Pro Forum at adobe´s webside.
Both issues (audio and external monitoring) are known and are being well discussed there.
Have a peek:
https://forums.adobe.com/message/3988746#3988746“So you’re monitoring through a DV camera. You might have said so. Sorry that you have this issue.
[Philipp Hampl] “@david: never had to edit to tape an unmixed master? track 1 interview tack 2 atmo track 3+4 stereo mix music?!!
With xdcam HD 422 it´s up to 8 tracks.”I still have no idea what kind of tape you’re talking about. I routinely output to 4 channels to digibeta or HDCam. I have no idea what you mean by unmixed. It’s easy to output discrete tracks with an IO system. If you’re trying to do it via firewire I’m sorry, I’ve never needed to do that.
David
AllinOneFilms.com -
Phillip. Perhaps you’d like to explain a little more clearly what you’re trying to do with ‘Export unmixed audio’. I have no idea what you’re referring to. You can export your entire timeline audio to OMF if you wish to mix outside Premiere. But you also state:
[Philipp Hampl] “no external monitoring when working with codecs other than those which are cuda-supported! That means: whether monitoring or mercury engine”
Again I apologize but the above statement makes no sense to me. You can external monitor any codec that you place on a timeline that supports your video IO system – Matrox, AJA, or BM. Any codec. CUDA has nothing to do with it. CUDA accelerated effects can be added to any codec whether on an IO or Adobe (no IO) timeline. Mercury is the playback engine on any timeline, again whether it is IO or Adobe.
So please explain more clearly exactly what your problems are because they’re not clear to me.
David
AllinOneFilms.com -
[Tom Daigon] “if there’s a preview file, it decodes the frame out of it, & re-encodes it into the final file. So while it’ll help in (non-CUDA) effects heavy compositions, it also incurs a generation loss. Generally, we don’t recommend using it (hence the default to off) unless you really are sure that’s what you want.””
I’m not at all sure that this is true in all cases.
I usually render my previews to a Matrox codec @ 200mbps. Exports to the same codec and bit depth go extremely fast and I’ve noticed no quality loss. However, I must admit I haven’t put the two side by side under a microscope. If I’m working with heavy effects renders that have lots of gradients I render previews at 10 bit uncompressed which will avoid any potential generation loss rendering with previews to final outout. If my output needs to take up less space than a 10 bit uncompressed file I’ll go to a less storage intensive codec (AVCIntra @100mbps or Matrox iframe @200mbps) and see minimum quality loss.
David
AllinOneFilms.com -
Tom, please see my response in the other thread.
https://forums.creativecow.net/readpost/3/917524
David
AllinOneFilms.com -
You can use preview renders. It really speeds up the output process if you’re rendering to the same codec, bit depth, and bit rate that you rendered your previews at. This is my standard NO.
David
AllinOneFilms.com