George Parker
7
COW Coins
5
Premiere Pro Coins
Forum Replies Created
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For a number of years I always had my Premiere (and After Effects) project files and their auto-saves going to a folder on my Creative Cloud. This enabled me to always only have one version of the project that I knew was the latest and greatest that I could access from the office on my desktop system and/or on my MacBook Pro when I needed to WFH, or anywhere else. Then Creative Cloud decided to stop functioning in the traditional cloud way where it is constantly syncing files from devices to the cloud and back. Now I use iCloud in the same way. Before we started doing this there were always multiple versions of the product floating around depending on what hard drive it was saved to. Plus there was always the risk of losing the drive and therefore, the project file. With the cloud system I call up an old project and it tells me which drives it’s looking for to link to the media instead of me trying to remember which drive the project file was on, which was usually the same drive the media was on. Would love to hear of anyone else doing something similar. Or give me a better plan.
Geo
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I just received some footage that turns out to be the AVC Intra100. The folder structure looks like P2. And, it comes in with my P2 log and transfer (FCP 7). But, FCP hates this footage. Quicktime hates it. It plays somewhat, but has locked up the software too many times. I have now converted to ProResHQ. I guess this stuff is probably happy-go-lucky in Premiere, not doubt. Is this pro-sumer stuff?
George
Geo
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Yes, I do have keyboard saved. But, that’s a good thought on the effects slug. Thanks.
Geo
Geo
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Thanks, Jeremy. So, what is the work around next time? Can I save my prefs out on the desktop and replace new reset ones after loading drivers. Or is there no way to still use the old prefs with the new drivers. Or is there a way to just save my fav effects as a file that can be reloaded?
George
Geo
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1024 x 720.
George
Geo
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Hey, Daniel.
I’m just playing the 1024 X 720 in Quicktime.
George.
Geo
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OK. True once I changed my monitor to “component” instead of RGB then the SMPTE EBU/N10 setting on the AJA worked for everything except the same problem on 1080 23.98psf capture. So, I will query the folks at AJA. However, the last time a sent an email to support through their web support contact I heard nothing back.
Geo
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Hey, Gary.
Color bars are fine. Everything is fine off the timeline and everything except footage that is 23.98 that is being captured is fine. If I put the analog out into SMPTE everything is green. It’s not a huge deal, ultimately, since it’s fine once it’s on the timeline. More curious than anything.
Geo
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Jeremy.
I wish it was that “easy”. I’ve tried all of the Easy Setups for HD 23.98psf. I think this is a KONA LHe issue. The color is correct on my plasma when playing back the captured clip on the timeline. But when ‘when’ capturing flesh colors are blue, greens are brown, etc. on the plasma. This is a 23.98psf only problem. When I capture SD my color is fine.
Geo
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Jeremy.
It’s a Panasonic Plasma HD TH-42PS9UK or XK, not sure which. No, the 29.97 just makes it play fast and still out of phase. It plays the 23.98 off the timeline with the playback set at 23.98 just fine, just not when in capture mode with this new software. It was doing it at 23.98 in phase before I upgraded the KONA LHe software so I’m thinking there’s a default preset that kicked in when I did the install.
Geo