Michael Krupnick
Forum Replies Created
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Many successful business have shifted away from owner customers to subscription-based revenue desiring renters not licenseed users. It’s true of cars, housing, TV service and high-end software.
And the target is not the old hot-rod tinkerer who loves his wheels, making his into a high-performance version of the stock version…they want amateurs who shoot, wrap the output in a YouTube-ready wrapper, and don’t bug them with suport requests.
Apple’s objective is a new more expensive iPhone (no different underneath but prettier) masquerading as innovation. It’s working, too…placing it as the top-earning company in America. But it is very sad for old hot-rodders like us.
Innovation is now being spread in new industries with far higher goals like energy independence and global environmental sustainability. Meanwhile, I do the best possible with my Intel 8-core MacPro with a multi-OS boot capability and stable versions of PP, Ps, and FCP…and it’s very solid. Yes, today is not as good as yesterday in the non-pro world of the amateur king. But There’s hope for the future and museums like mine still run remarkably smoothly. -
I’ve found DVCProHD to be excellent. Importing the files from the P2 cards is quick and easy. Premiere handles the data like DV: it all works without much load on memory or the hardware, exports without incidents usually and renders pretty easily and quickly. The files are low/medium in size, don’t take huge disc space, and display very handsomely to scaled HD up to 1080 even on a theatre-sized screen.
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In a NON-ADDITIVE transition the dissolve to B is luma-keyed over A on a ramped soft clipper, so the bright parts come in first, then the darker parts near the end. It appears smoother. Play with the blend mode…there may already be a preset; but if not it’s not difficult to make your own (it’s a key).
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Good thread…I think the sea change occurred because the possibility of client-requested changes to the cut is an onerous chore on physical media. So edit systems began to display previews instead of workprints. They managed these by assembling EDLs of preview chains. Workflow became a consideration when editors had to manage these lists as well as raw camera source. That was EDIFLEX or CMX offline systems.
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What makes any tool “professional” is not bundled in the hardware or the app. It’s the user.
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Yes you are. Pr is telling you a clip under construction (like a change in frame number or length) is not ready for an effect. It’s actually your mistake in workflow and the computer is warning you that you can’t do it that way. 90% of “wot the hell?” moments are operator errors, not bugs. Software interaction means learning its way of speaking and listening carefully.
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Classic USB is generally not fast enough for anything approaching real-time, including quality audio. Try other ports on your Mac. Firewire for digital (there are external converters like MOTU if needed), or even the the analog line input is usually better.
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This is a sequence at 48K and source at 44K audio rate…an elementary error in matching the project into compliance with the raw files. There are a number of ways to adjust for that and set up the project properly, all easy. When the sample rates match, the sync will stay solid.
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After Effects is the best app for this. It formats a composition based on the image and can export that as a custom mov that will automatically import into Pr aspected correctly without rendering. Ae is also better than Pr for visual fx like keying and keyframe animation.
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Weirdness continues … today, all the renders stuck w/o modification. Different project, but same procedure. Maybe Pr needs to “bake” in the background for awhile?? Many times, the best thing is to walk away for awhile…