Kent Smith
Forum Replies Created
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I had a similar issue with the Sony deck. Even though I had the deck set to HDV, it also needs the iLink down-convert to be turned off before PPro reconized the deck.
Hope that may help.
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I was using cineform avi files, and still haven’t gotten them to work. I wasn’t even able to output an m2t file to test them. And when I cut HDV footage, I still use the native HDV projects because of a big red shift when I try to do something in cineform. In fact, I usually get a red shift when I output anything from PP. But thanks for letting me know about AE and mpegs.
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I’ll try it out, but when I edit, I go through a lot of clips very fast. And extra steps means extra time. And when you’re paid by the project, and not by the hour, extra time is less money. So actually, for some editors it is a big issue. I picked PPro over FCP because, for the most part, I could do things in less steps. But, without going into detail, there were a lot of trade offs. But what I think what the previous posts are talking about would make an important improvement in PPro for editors who don’t want to be stuck in stereo audio for dialog channels as a default. And don’t want to “break out” audio everytime a clip gets put into the timeline.
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But, unfortunately, that’s not it. They’re “separated” tracks in the bin, so the video and 2 tracks of mono have to be put into the time line then manually re-sync’d.
What the gentleman is talking about will be a useful tool. When I shoot I often set channel 1 and 2 at different levels, so when one is low, the other channel is already set higher, and vice versa. But if I ONLY want to use the left channel, then the next clip ONLY want to use the right channel, there is no simple way in PPro to do that. It’s a mess. What would be nice is to set a clip to stereo or 2 tracks of SYNCED mono, and when the clip is dragged into the time line it automatically goes to two seaprates tracks, so I can use either one of the two tracks, or both. But to break out to mono manually, seems like the software should be doing that, not the operator. I mean, the whole point of computer editing software is to eliminate the tedious, repetitive aspects of editig, not create more.
What would be diffcult about an operation: Drap a clip to the timeline, and it goes in as 2 tracks of mono intead of 1 track of stereo. And get rid of the “break out to mono”. It’s a worthless operation anyway.
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Went through the whole process again, and this time it worked. But man, it’s an ordeal….. There’s got to be a simplier way to upgrade a product.
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No. I said I got the email with the activation key, just that it doesnt work, can’t deactivate or activate…and no response from cineform online support ticket….I’ve had a tick number since Wednesday, and not it’s late Friday..and into the weekend.
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That’s pretty obvious, but what I think he means, is the ability to CHANGE a setting or REPLACE the ones in a bunch of clips.
Say I have a sequence with 100 clips such as a fast-cutting music video. I’ve color timed them all with a lighting effect and a touch of radial blur, but after looking at the seuence, I want to back off the blur and warm it up a bit. If I do PASTE ATTRIBUTES, it ADDS the effects, doubling everything up, not REPLACE THEM. To do that, I have to go to each clip and either ajust them individually, or delete them indivicually and then batch paste attributes. (Unless somoene knows how to clear out all attributes except the default ones in one batch command.) And that can be very tedious.
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I’ve gone trough a lot of this. For Mpg, watch your bit rates. Keep them high as you can. (Enore won’t accept higher than 7K bit rate, I believe — when I tried 9k, it said bit rate was too high.)
Quicktimes always come out terrible with PPro, so I’d forget it. WMV comes out great, but keep everything high. Default setting are very low, by the way. (I’d use an outside converter to make Quicktimes out of WMV…better than PPro, anyway.)
If you’re in HDv or any 1080, look for long render times, especially with a lot of color or efx applied. I’ve had up to 50 hours for a 100 minute project to render out to an HDV file with just basic color correction and some lighting effects done to it.
And one short SD project, took 11 hours because I used a radial blur, a slight color channel blur, and some extreme color blance effects.
It may take a lot of trial and error, so I used to just output 1 or 2 sec clips, and check the quality verses render time. And as the one guy posted, I only do single pass (mpg) unless it’s a master file. For DVD, I think single pass with 7k max, and 6K target is good for around a hour length show.
I hope that helps. If anyone knows how to keep render times down, but still edit in native HDV, I’d like to know. -
I don’t think 24:00:00:00 even exists, does it? It is = to 00:00:00:00, the next frame from 23:59:59:30 is 00:00:00:00. So if the camera put down 24+, it’s not timecode, but something else. Something doesn’t sound right. Beside, TC + REEL # gives you never-ending souce code. I had a friend cut a promo from 500 reels. I’ve never used that many in a single probject (thank god)….but that’s how you keep them all straight.
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Well, can you upgrade to 2.0 from 2.0, register the new software, and save a 100 bucks?