[David Markey]

awesome. that worked.

[David Markey]

wow, thanks! i can see now, learning more coding will be a long hard road of 1000 ‘gotchas’.

the expression is no longer broken, but i can’t get the layer to reposition to the right place. It defaults to Answer 4, indicating that the source text doesn’t match, even though I copy/pasted.

What could be throwing it off?
Is there a better property to reference than sourceText?
Is there some code to ‘standardize’ the text so the expression is more likely to view them as equal?

Backstory: The end goal is to revise hundreds of these questions using Spreadsheets and the AE script openSesame.

[David Markey]

Thanks for response, Dan. I revised the code as follows:

If (comp(“3 – Answer 1”).layer(“Answer 1”).text.sourceText == thisComp.layer(“Answer”).text.sourceText){
GLOW = ANSWER1;
}

I still get the error though, so it must be something else.

[David Markey]

Hey Guys,

There’s a hack to open multiple instances of Premiere. These instructions are for AE, but it also works in PP: https://hints.macworld.com/article.php?story=20060713094900651

The file you’re looking to make an alias of is /Applications/Adobe Premiere Pro CC 2014/Adobe Premiere Pro CC 2014.app/Contents/MacOS/Adobe Premiere Pro CC 2014

Then you can Cmd-Tab between two (or three or however many) projects. It’s an off-label use, so proceed with caution. I haven’t had any issues though.

[David Markey]

Hey Lance,

My experience matches Jake’s. Premiere has never been as reliable as other NLE’s for me. Dynamic Link especially can be suicidal. Would be awesome if it worked as advertised (recently discovered the Render and Replace command under Clip. This supposedly takes some of the pain out of Dynamic Linking. We shall see).

I haven’t noticed much change recently. If anything, I might notice some improvement… or maybe I’m just getting better at avoiding the functions that make it unhappy.

Cheers
DM

PS: Did you used to work in Cincinnati? I think we crossed paths at Hallau Shoots or Red a time or two.

[David Markey]

We often have problems when loading big projects or accessing folders in OSX with lots of files.

IME, part of the problem is Premiere ‘conforming’ the clips, which seems to happen when adding new media to a project or when opening a project that was created on another machine.. This takes some time, and your access to the media might be unreliable until it’s finished. Sometimes the fix is to just wait a bit.

Premiere also is just a bit shaky and glitchy at times. Closing the app and relaunching fixes most things. If it’s really unhappy, restart the whole machine, and if it’s REALLY unhappy, maybe restart your SAN.

The other issue we run into is that the Spotlight feature of OSX can take FOREVER to index files, and once it does, there can be a lag in refreshing the index. For instance, my graphics guy will export a file, but I won’t see it for several minutes sometimes. Sometimes I need to remount the volume to see the newly added file. Weird stuff like that. It could be our ProMax server, but I blame Mavericks/OSX. If this is the problem and you need Spotlight, you can disable it by typing some commands into Terminal.

[David Markey]

Old thread, but maybe you guys will still see it.

Chris G, I’m curious, how does your workflow differ for UHD footage?

Alex, another way to minimize jello on a GoPro is to shoot at a higher framerate. We use 60fps. This tricks the camera into shooting with a faster shutter speed which is less vulnerable to rolling shutter issues. You may have re-time the footage and add motion blur back in to get the look you want.

[David Markey]

Your solution will give me extra layers in the same location, but doesn’t help with placing layers in totally different parts of the shot.

I think I found the solution though. It seems that toggling ‘Mask Visibility’ in the Composition can bring back trackpoints and bullseyes that have gone missing.

DM

[David Markey]

The effect behaves differently depending on your clips. Dark clips don’t react as strongly because there isn’t much luminance to ‘add.’ Bright clips also might not react as strongly, because once they hit white, they can’t go any brighter.

As a test put a solid Color Matte in your timeline, something with mid-level brightness. Add an edit to the clip, and place an additive dissolve on the edit. The dissolve will essentially add the clip to itself, and you’ll see it get brighter.

I’ve actually found this to be a quick, dirty technique to create ‘glow pops’ in a music video: just add edits to a shot, and throw additive dissolves on the edits.

[David Markey]

I just did some quick tests of my own, as I have to shoot greenscreen with a C300 tomorrow. Overall, pretty disappointing for a camera at this price point. I noticed crazy noise in Keylight also. Final Result is especially bad, but even Intermediate was unacceptable as far as noise is concerned.

It seems all the normal greenscreen rules are in effect with the C300, but moreso. It really doesn’t like fuzzy areas (soft focus, motion blur, hair), and it really doesn’t like underexposure. I read about the ‘Expose to the Right’ method (https://en.wikipedia.org/wiki/Exposing_to_the_right), and decided to give it a whirl. I did indeed get less noise by overexposing in camera and then darkening in post.

I tested Cinema Locked and EOS. After correcting the Cinema to match EOS as close as possible (SA Color Finesse, AE CS6), I still felt the EOS keyed better, but just slightly. Cinema seems to have some odd color shifting. Other users concur: https://www.dvxuser.com/V6/archive/index.php/t-287056.html

I didn’t test different light sources. Tungsten vs. Daylight might throw some wrenches into the mix.

The biggest improvement I found is to use Neat Video’s Reduce Noise plugin to cleanup the footage before pulling the key. I was very happy with that result. Neat Video: 1 Canon: 0