[Herb Sevush]

[Herb Sevush] “I just bought a trash can MacPro for a new series”

I should also add that the Ebay nMpro cost about 2K more than a beefed up used tower at this point, but the savings on the Raid side, due to Thunderbolt, pretty much balanced that out. If I didn’t need the raid, I would have bought another cheese grater. I would have gladly paid an additional 1-2K for a nMpro in a tower config with PCIe slots – but Apple wasn’t offering.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Brian Higgins] “any ideas for syncing them and also showing them all together instead of switching them?”

Use the multicam feature, that’s what it’s there for. I would tell you to look it up in a manual, but Adobe doesn’t believe in manuals, so google “Ppro Multicam” and watch the videos.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Claude Lyneis] “Herb, tell us how you really feel.”

AS long as your asking …

The trash can’s performance can’t be faulted. I bought a 6 core, 32 gig, D700 on ebay and while I haven’t done any direct tests against my beefed up tower, it feels a bit faster. Plus Thunderbolt raids are cheaper and easier to build without need for controller cards. I intend to do some rendering tests soon and will post my results.

Now if only I could rip out the guts and put the whole thing in a tower case with a DVD burner and add some PCIe slots, I’d be a happy guy.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

I just bought a trash can MacPro for a new series and I must say that there is absolutely nothing about the cylindrical design that is helpful in anyway. Too small to reach the “power on” button when placed on the floor, impossible to mount in a rack, a vipers nest of wires sticking out when placed on a desktop. It’s good to see Samsung following up it’s disastrous handling of the Note by copycatting one of the worst designs in modern technology. Hey maybe Samsung can get theirs to blow up the graphics card as well.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[David McGavran] ” We basically have transitions written to an older API and transitions written to a newer API. The older ones don’t support presets the new ones do. Cross Dissolve is one we support that is written to the new API. Most third party ones are as well. We update them based on need from customers so we have added your voice to the list”

As long as my voice is being listened to …

There needs to be some keyboard shortcut to highlight the nearest, or next, or previous, transition. Trying to mouse click on a small transition tag when zoomed out on a timeline is frustrating and time wasting. I mutter very bad things about the parentage of Adobe software designers every time I’m forced to zoom in and enlarge a track just so I can click on a transition tag to change the parameters – this is not a good thing, I feel very bad about myself later. And there needs to be a simple way to remove transitions without mouse clicking them one at a time and deleting – transitions need to be treated the same way you treat EFX.

And thanks for listening.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Alan Zapata] “So far I’ve tried both Camera 1 and All Cameras. I’ve never tried switched since only one camera has the stereo mix on it”

For your workflow you want to chose the Camera 1 setting. It is essential that the camera with the audio be the first camera selected for your multicam group – do not flop the cameras around after making the multicam. After making the multicam right click on it in the browser and chose “open in timeline.” Once open, delete (not mute) the unwanted audio clips from the first camera. You might have to delete the actual empty tracks on the timeline if just deleting the audio clips doesn’t work. Don’t do anything with the audio tracks from any other camera.

You don’t want to use “All Cameras” as this is intended to always access all audio sources from all cameras.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Paul Neumann] “Haven’t seen any native transitions with more than rudimentary adjustment controls.”

The PPro “Page Turn” transition default is to a ridiculous direction and since I use about 6 per episode having to manually fidget with it is a minor PITA. It’s good to know that third party transitions have presets but it’s bad design that you don’t have the same ease of control over native transitions that you do over effects.

I have pleaded my case with Adobe but my requests have been unanswered. Or maybe, as is often said about the big guy, maybe they hear me and the answer is no.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Alan Zapata] “The decks we use (BlackmagicHyperDeck Pro) always record 16 channels of audio but I only record 4 channels to each deck so I then open the multicam in the timeline and remove the blank tracks. The problem I run into is when I place the cleaned up multicam in a sequence, it creates individual tracks for all the tracks inside the multicam and recreates all the audio tracks I erased.”

When creating the multicam which of the 3 audio options did you choose ?

Camera One, All Camera’s, Switch Audio –

Each of these options handles the audio quite differently.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Scott Witthaus] “Automatic music editing? Please. How about a title tool upgrade…at least into this century?”

Surprisingly enough the auto-music editing sometimes helps, especially under time constraints.

As for a better title tool – probably at the top of my request list along with saveable presets for transitions just like they now have for effects.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[James Culbertson] “In the end, what feels stagnant is kind of a personal preference isn’t it?”

What “feels” stagnant might well be personal but what “is” stagnant is a matter of fact.

[James Culbertson] ” AVID still feels like I am editing on a 1990s application.”

And for those who won’t upgrade it is a 1990s application. Which is fine for some, and why I said “stagnant” and “money making” are not necessarily opposites. Many film editors stayed with upright moviolas for decades past the invention of flatbeds; for them stagnant = proven = safe. Being on the leading edge can be a recipe for bankruptcy.

[James Culbertson] “What has Premiere added since CC2014 that substantially improves your editing experience?”

Morphing transitions, lumetri color engine, automatic music editing, auto scratch track — I tend to forget what’s new with each iteration but there’s plenty new, a lot of which helps in the day to day.

[James Culbertson] “But I personally feel that tracks are much more stagnant than the magnetic timeline. Premiere feels like I am still working in FCP Legacy.”

Five years ago FCPX came out with a slew of bigtime changes in NLE design. And they followed it up with about 2 years of improvements off that new design. But we are playing the game of “what have you done for me lately” and if you didn’t like X 3 years ago, what have they done to improve their proposition since?

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf