[Eric Mc guire]

I like bestcorporatemusic.com, they have some pretty nice tracks at lower cost than the others. Not as much choice though lol.

[Eric Mc guire]

Never went back to MC, and I have never faced a bug in Premiere neither (I am still on CS5.5). The integration with After Effects simplifies a lot my job, and I prefer Premiere for everything.

Also, Premiere allows me to work with 4K and proxies – and I do not need to convert every frame that I import into another format.

[Eric Mc guire]

Avid Media Composer is the most serious junk I had the chance to work with. I am very sorry, usually I am respectful towards general things of life, but this company is so arrogant with their clients that I do not need to hold. What I chance I know Marianna a little bit, because Avid would never have let me reinstall my software after my machine crashed without paying for a support fee.

Premiere is not perfect, and Media Composer is just a bit better with realtime in my opinion. Both I’m working in Premiere right now in 1080p in realtime with no problem (with the dnxhd codec).

Media Composer turn offs:
– does not integrate with anything
– extremely complicated to deal with colorspaces
– the activation system WILL let you down, and Avid has no link on its website for support. You’ll have to pay to reinstall your software if you have a hardware failure
– very complicated to manage AAFs and media linking
– Media Composer is built with a logic from another century (the one behind), nothing is like any other software or NLE
– simple operations get very complicated all the time
– locked at 1080p

Premiere Pro’s
– Awesome integration with After Effects
– working with medias of all sort is so intuitive
– familiar interface, wherever you’re coming from (including AVID)
– realtime is great and works with CUDA (and latest Nvidia drivers, should I add?)
– The title tool is great compared to Avid, and of course you have AE…
– 4K editing
– solid proxy system
– it works
– no mind-bending licensing issues
– the workspace customization is reliable, great scopes and tools

The only advantage Media Composer has over Premiere in my opinion is the fluidmorph & time-warping built-in.

My friend working at the broadcast station was showing me the other day: “look, we have AVID all over the place! Cool huh?” Then I told him that I had migrated to Premiere (tried to go back twice to MC but now it’s over).

We concluded out that the Avid systems were still ahead in terms of network capabilities, in fact their systems are very reliable for everything that is shared working over a network, but in terms of software quality, Premiere for me is far above.

[Eric Mc guire]

I work all the time with After Effects and 3D for motion graphics and advertisement. Element is such a great plugin – powerful and incredibly time saving. Now I set up my 3D scenes in maya, export the objs, and render in AE with Element. It’s now a matter of seconds instead of days. I just can’t believe this is happening yet.

[Eric Mc guire]

Ok got it… I am not a colorist, so here is the technique I was looking for:

1. open the vectorscope window
2. isolate a neutral tone (with a power window or find a good reference frame)
3. bring the balance back in the middle with rgb offsets, gamma, etc.

Thanks for your help!

[Eric Mc guire]

Maybe you could share how you did it? So you can give help the same way you asked for it? 🙂

[Eric Mc guire]

I know this project is probably over but I’ll reply anyway…

With super high res you can use proxies for your footage like in this Video Copilot tutorial:
https://library.creativecow.net/articles/kramer_andrew/proxies.php

As for the renderfarm, since After Effects CS5.5 you need as many licenses as the machines you want AE installed on. And then you can launch renders over your network. Adobe claims it is because all the third party vendors were complaining about licensing, but I bet this complain was well received by John Adobe hahaha.

So now since CS5.5 it means you have to buy multiple AE licenses (no render licenses yet pfff) AND multiple plugins licenses (trapcode, etc).

[Eric Mc guire]

This looks exactly like what I’m trying to do, but I’m not sure I’m doing it right. You mean I select a highlight in the viewer, with my color picker, then push autocolor?

I have Resolve Lite with no surface control.

Can you elaborate more please about the procedure, because when I’m doing it, it balances the shadows too.

Cheers

[Eric Mc guire]

@Patrick:

Balanced and unbalanced audio inputs are made to support preamplified “lines” (like digital piano or preamplified signals) and/or unamplified signal (like a guitar jack). Basically, these inputs support every kind of jack 1/4 signal – whatever the source is. But you need balanced jacks to switch between these two kinds of sources.

It’s not XLR but it’s ok. Personnally, I don’t hear much of a difference.

[Eric Mc guire]

place you in-out marks, select your tracks, and: Export, Quicktime Reference. Open it in AE.

You can also work with Automatic Duck import if you want, but it is
more complicated.

If you work with video footage, you might want to stick with the REC 709 colorspace in AVID. You’ll sleep more nights in your life.