[Jim Arco]

Glen,

While I often use vibrance in Photoshop, I don’t remember seeing it in PPro or in AE. I’m using CS4, although I think it might have been added in CS5/5.5.

As a side-note, how fast is your workflow with dynamic link? Even on my 8-core computer with SSDs, dynamic link seems a bit slow and klunky.

Jim

[Jim Arco]

A bit hard to tell from the stills, it looks to me like the 8AM shot has slightly blue-er shadows, and maybe a bit more yellow in the highlights. This is pretty much what we would expect, BTW. The shadows might be crushed slightly in the 8AM shot.

Color matching shots from different time of the day is easier when you have the same or similar scenes. With different scenes, it usually turns out to be a matter of matching the “feel” rather than the color of objects. It sometimes helps to temporarily turn off the chroma and first match the luminance of the scenes. Then try turning the the saturation way up to exaggerate any differences in the coloring.

[Jim Arco]

It looks like you have already done some work on this footage and I wonder if the noise is on the original footage? If not, I would backtrack to determine at which step in your comp the noise originates.

Otherwise, it looks to me like there may be some blown-out highlight at the edge of each stair and also possibly some aliasing artifacts.

The noise exists in all channels, but seems worse in the blue channel. I tried some noise reduction (effects > noise&grain > remove grain) on the still-frame and it helped, but did not totally eliminate the problem. You may also want to try median blur on just the blue channel.

If it is interlaced footage you may want to try reduce interlace flicker.

Jim

[Jim Arco]

Todd,

Thanks again for the quick response. I guess I’m just snarly today from lack of sleep.

I’ll do a feature request while this render finishes, then go get some rest!

Jim

[Jim Arco]

Sometimes, if I have a difficult color correction, I will fine-tune a still in Photoshop and then save the curve and use it in After Effects. (When I posed the question, I was color-grading a clip shot in a bright yellow-painted room lit with 2 different kinds of flourescents.)

I was assuming I could do the same and use the curve in Premiere.

The ideal, of course, would be the “targeted adjustment tool” in PPro curves (and AE curves for that matter.) My frustration here is that this is probably not an issue of software coding, but rather one of product differentiation. Why Adobe chooses to differentiate products that I buy all together in a “suite” is a bit irritating to me. (Maybe I’m just having a grouchy day.)

Jim

Of course, software development is always easier for the person who doesn’t have to do it!

[Jim Arco]

I have no experience with Macs and firewire hubs. Since you have a suitable work-around, you could wait until you get an answer from someone with experience with Mac/fw before spending money.

I don’t think it is the amount of data, but probably the handshaking between devices on the same port that is causing the problem.

In theory, the hub should resolve any problem.

Then again, “In theory, there is no difference between theory and the real world. In the real world there is always a difference.”

[Jim Arco]

==> Sorry, for some reason this post got duplicated <== Haven't figured out a way to delete a post. Jim

[Jim Arco]

Thanks for the confirmation, Todd.

It seemed so logical that .acv files could be shared with Premiere that I convinced myself there was just something I was missing.

I’m guessing that this in one of those places that Adobe has chosen to differentiate the products that it usually sells as a Suite, or should I fill out (another) feature request?

Jim

[Jim Arco]

“video you commissioned was edited in an NLE that used clickable windows- you owe me money or I’ll sue you for patent infringement”

Please don’t give the patent trolls any more ideas.

While the whole concept of patent trolling will likely (eventually) go away it seems like a real problem right now. Faced with a $25million lawsuit or a $10,000 “licensing fee,” I’d guess that many mid-sized entities will choose to pay the lower cost because they know it will take more than $10K worth of start-up for their corporate legal-beagles to even look at the case.

As far as the argument “Adobe made the tool – sue them” probably won’t get any farther than if you use photoshop to duplicate $20 bills. “I didn’t do it, photoshop did” would get you laughed out of the courtroom and into the graybar hotel for an extended stay.

We probably need to add a clause to OUR contracts excluding any liability for these (hopefully) frivolous claims.

Then again, maybe I ought to claim a patent on video playing simultaneously with music or with text!

[Jim Arco]

I have never had consistently good results from ‘daisy-chaining’ firewire connection to capture video. You might try swapping the devices’ position in the daisy-chain to see if that fixes the problem.

When you capture DV, you are capturing a data stream at the rate of 3.75 megabytes per second. Design-wise, firewire400 transfers data at 50 megabytes per second, so you would think it could easily handle two 3.75mbs streams. (I’m doing this from memory, so don’t quote me on the exact speeds.) Firewire is sort of a bus-protocol in that all the devices see and talk to all other devices.

However, while 50mbs is the maximum data transfer rate, fw is also controlling the drive and the deck. The hard-drive inside the case is nowhere near as fast as the fw connection. The deck may have all sorts of wait-states to accomodate fast-forward/rewind/shuttle/etc. Also, firewire is a very “chatty” protocol and each device spends a lot of time talking to each other device.

When I had a similar problem, I finally added another fw card with multiple ports to my PC. However, you can find fw hubs from B&H (and probably Amazon) for less than $100.

Hopefully some other folks here have had specific experience with fw hubs and Macs.

Jim