[Jon Barrie]

Hi Guys,

To be clear about the way maintenance giving you upgrade rights on top of the original purchase and how the creative cloud offering works – the per seat fee for Master Collection (which is platform agnostic! being on a Mac or PC the same account access knows which installer you require), with other services including training videos across the entire toolset, a space for social from behance (coming) and free new feature based upgrades drops (can be as frequent as per month if they are ready to drop) is in the constant pricing model that’s subscribed to the plan.

The cost of per seat is locked in and can be budgeted in forecasts. Getting Team allows you to allow access to students based on an admin assigned sign in and when students leave, graduate that account is closed and reassigned. Seats can be scaled mid-way too.

CLP licenses won’t have access to the new feature rich (innovation based) updates – legally. This meant in the past that updates of this nature required waiting until a full year/18month cycle was released before the features could be passed on at the extra cost.

The Cloud based subscription bypasses the innovation lag.

So effectively $40 per seat is $40 per seat even when a major update drops. If you a in subscription timeframe you effectively have maintenance built into the price.

From the sites I saw you would otherwise be paying about $600 for the Prod Premium only software, then the maintenance on top. If the students want to learn where video goes across digital publishing, web etc, you need to buy more software. This is just software there are no extended services included in this product line.

Reapply the mathematics knowing the maintenance is included in the pricing and consider the extent of allowing students access to the software on their computers too. They get access to 2 Adobe Expert lessons per seat/year and 100G of cloud based storage.

Hope this helps a little more about understanding the value of Creative Cloud.

🙂

JB
Adobe Systems,
Video Solutoins Consultatnt, A/NZ

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

G’day David,

There is a way to do exactly what you want.

Drilling into the Multicam edit you can find the camera angle (represented by the track number) add the effect to the clip/s in there and go back to your Multi-camera edit to see the nest update 🙂

To get into the MC Sequence right click it from the Project Panel and select “Open in Timeline”.

You should see the full stack of clips that make up the MC workflow. Hide the eyes of the video tracks above the camera angle you need to adjust. When done treating it as you would with any clip, turn the eyes back on.

Every time you cut to that camera angle the fix will be seen. 🙂

You can stack timelines as broken out panels so you have the MC Edit on one and the MC (Nest) Sequence on another.

Check this clip on how to do that. https://www.youtube.com/watch?v=1qcJVlq9bcs&feature=share&list=UUJFdvHfcVBpErDSkAX3PLmg 🙂

Cheers JB

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

Hey Don,

It sounds like you haven’t used the target track process. You need to select the video track name you want the add the overwrite to and have the little V sit next to it.

Check this page on how to set up track targeting and the “fit to fill” option.

https://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d27a.html

Cheers JB

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

G’day Don,

This feature is in there, just not as exposed as with FCP.

Set the IO range on the timeline, then set the IO range on the clip in the Source Monitor (FCP Viewer).

Make sure you have the track targeting selected correctly. Outside highlight from source against the inside track highlight (only – no other tracks highlighted) on the track you want to perform the fit to fill.

Now select the overlay button from the source.

This will present some options. Select Fit to Fill.

Hope this helped.

Cheers JB 🙂

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

Hey Mario,

For option 2:
– find the sequence in the project panel.
– Drag and Drop the sequence into the one you made for 360p
– right click the sequence (which should look like one uncut clip for the entire duration of the edit)
– Select “Scale to Frame” from the list.
– The Dimensions should automatically fit the smaller dimension of the sequence.

Export to the codec type you need that matches the dimensions and frame rate of the 360p sequence. (H.264 or whatever needs to be for the client to watch it back)

Cheers JB

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

G’day Mario,

I generally find the best way to export quickly for client approval is to use the Same as Seq Tick box at Export Settings and just export that out as a mezzanine master clip. Once that’s processed add it to a sequence that is to scale (360×180) is probably as small as I’d personally go for approvals.

If the scaling is already being handled in the sequence the export match to that tends to be faster.

You can try to add the original edit to a new sequence (nesting) that match the export settings you want – and bypass the mezzanine export step. In my experience that is faster than exporting from original sequence dimensions to a smaller export scale.

When exporting out a clip on it’s own, where there is only one file and no effects being used the export times are quick.

If you think about it the more you try to shrink the dimensions the more processing is required to spit it out, especially when it’s processing effects, transitions and decoding what’s probably already a complex codec to encoding to another complex codec such as H.264 – the less re-processing the better!

i5 is not a powerful CPU so don’t expect too much from it. Having a machine with a supported GPU will make your life so much faster especially with scale related exports since the scaling and Accelerated effects are processed by the GPU in conjunction with the CPU and RAM.

Cheers JB

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

G’day Ryan,

These markers do come in from Prelude and that’s where you would want to make them since they are far easier to set and lay out in that app compared to Pr.

You can hold the alt key while you are typing into the marker and it overrides the typing and allows for IO and JKL control of the playback and extended marker duration and position.

You can use the panel for the logging to alter the IO timecode points too. They should be updating to the clips already in a Pr project too once they are saved in Prelude. Providing you are actually looking at the exact same file for both apps.

Cheers JB 🙂

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

G’day Gavin,

You can do this in the timeline and have them both set to “Scale to Frame” then set the scale to 50%.

To get one on the left side, alter the Motion (twirl down):
position value of x to 0 and y as default
anchor point value of x to 0 and y default

To get the other on the right:
position values x and y as default
anchor point of x to 0 and y default.

The real trick to working with footage like this is to have a camera flash both camera’s can see or to clap before or after the main footage is shot so you have a visual and audio reference to marker as 0 or another number the same and sync that way.

Good Luck.

– JB

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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[Jon Barrie]

G’day Ben,

If you are referring to the arrows to move the forward and back view of the timeline (left to right, vice versa) using the mouse, then you can grab and drag the bottom scroll bar. The ends can be push and pulled to zoom in and out the timeline view.

Cheers JB

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
follow Jon with twitter

[Jon Barrie]

Can you supply a screen shot of the timeline. This is not expected behaviour.

Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
follow Jon with twitter