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Jeff Greenberg
September 1, 2011 at 3:23 am in reply to: Compressed output looks like *$#(@!

What setting did you use in squeeze?

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
September 1, 2011 at 3:22 am in reply to: Upgrading a system for Pr and AE questions

3 gigs per core. I’d do at least 12 gigs.
Drive speed is crucial (min 7200 rpm.)

Stick to video cards from NVidia that support the mercury engine.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 28, 2011 at 7:39 pm in reply to: RT editing Frame Resolution confusion

Charlie,

There are compromises we make – and this isn’t one of them. You’re introducing all sorts of work for yourself, to save $50 (which is the cost of a very cheap 500+ gig drive.)
————

I’m still going to answer your question: I’ll assume you’re going to edit in ProRes Proxy (that’ll make the files close to DV size, but compress the hell out of them. I’m assuming quality doesn’t matter, just making the files small.

If this is the case, you can work at 960×720, with a non-square setting on your timeline. Load the ProRes 422 Proxy 960×720 60p timeline and you should be able to edit in RT.

—–
Why this happens:
FCP was designed to work in RT only for those resolutions that were (mostly) based on broadcast output. Variations include sizing for 1080, 720 and 480 at different frame rates. There are a couple of offline presets that are non-standard but correspond with an online preset.

Conjecture: this software was designed at a time where firewire/DV made it possible to edit on a G3 computer; every piece of video was SD and tape based. Everything was optimized for playback in RT. Many of the codecs involved, would develop problems if they were one pixel off; and the video cards with overlays were designed with these sizes in mind.

If you wanted a bizarre size, you went to AE and scarified RT playback. It’s a question of trying to handle everything in your playback engine, or optimizing it to work with what people needed, rather than everything under the sun.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 28, 2011 at 7:21 pm in reply to: can adobe premiere pro and final cut pro exist peacefully on same machine?

Works absolutely fine – but I’d avoid using Parallels for any Video software, performance will be a dog.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 28, 2011 at 7:18 pm in reply to: How to make word by word pop up in a clip

Final Cut has a number of text generators. The one that this would be easiest with, is Title 3d.

Add a Title 3d where you’d like this to happen; open it, customize your text.

Then animate the keyframes on the text type on parameter, and switch the “Apply to” from letter to word.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 28, 2011 at 5:10 am in reply to: Importing DVD footage – interlacing?

Well, you’re bringing interlaced clips into a deinterlaced timeline. Have you tried deinterlacing it?

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 28, 2011 at 4:57 am in reply to: How can I export AVCHD as XDCAM 25 without audio becoming two identical audio tracks

Mike,

I’m in the middle of the hurricane on the east coast – but you can build a sequence with 16 out, you should get separate tracks and be able to send specific audio to specific tracks.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 28, 2011 at 4:43 am in reply to: Editing DSLR footage

It’s the cache files. You could set Premiere Pro to put them where the media is (Preferences>Media)

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 22, 2011 at 4:51 pm in reply to: Video Podcast Settings

I’d use the ipad settings in Compressor as a starting point. I might also try an h.264 1/2 HD sizing @ 960×540 @ around 4mb/sec (VBR, 2 pass) as a starting point. Both should work on an iOS device – the iPad setting is a great place to start.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website
Jeff Greenberg
August 19, 2011 at 2:49 pm in reply to: 640×480, any drop in quality?

No scaling will be performed because it’s stored at 720×480. Transfer as that, edit as that, finish as that and THEN convert at the end.

There is no ADVANTAGE but there certainly is disadvantage to scaling it to 640×480.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

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