Michael Krupnick
Forum Replies Created
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Panasonic used a a simple plan to achieve the HVX200’s ability to produce files acceptable for post-processing across the ATSC/NTSC spectrum. First, the imaging is done as a “master raw” file in-camera that is 60p/960:720, which was the best available for the hardware at the time. The sweet spot for capture calculations in that formula is 24PN anamorphic 960:720 DVCProHD. The assumption was that output was easily interlaced, scaled and retimed by both proprietary subroutines and third-party apps to files of accepatable quality for both documentary theatre and broadcast wide-spectrum ATSC deliverables. It worked quite well and still does, especially if the finished show is supposed to to look like film, even projected on a large screen. It’s a good compromise which even allows for varicam-style overcranking for smooth slo-mo. And it did so at a reasonable cost to the user. It’s no longer the very best there is — technology advances…but bang-for-the-buck-wise, it was ingenius. It still is.
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Have multiple instances of audio that need to be custom stereo panned for image. Want to do it clip-by clip. DON’T want to do it as track pan, but clip pan. Pr CS5.5 on MacPro 8-core Intel OS10.7.5 (Mtn Lion) doesn’t want to accept, let alone do, a clip-based keyframe pan effect (Balance). What am I doing wrong?
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You’re saying that you want to put a number of spots (you don’t say how many), each no longer than 1:30, on a single timeline to burn a DVD. At least that’s what it looks like you’re saying. If you haven’t yet, you need to make a Quicktime movie of each finished spot with all fx (that’s flattening a file). Arrange them on a timeline in the order they’re supposed to play. Export a single full-length Quicktime movie of that assembly project. Send that to Encore to compile, compress, build and burn.
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The problem is the way Pr handles clips. It doesn’t make affiliated clips on the timeline like FCP. You must duplicate the title in the project assets bin, change that one, and move it onto the timeline. For each instance. Yeah, it IS a bit clunky. But at least all your work is inside one sequence.
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I took the safest road I could think of: putting Lion on its own bootable disk and installing Ps Ae and Pr on it. It takes a minute to revert back to Snow Leopard, which still happens often. But Lion and the CS5 group seem to play nice. Beta testing Ps CS6 on Lion now and it’s pretty awesome, especially in its use of all eight cores – VERY fast! Adobe’s price on the upgrade will determine if it is worth it. I wish Adobe were putting more energy into modernizing Pr; it’s overdue for a serious GUI overhaul.
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Always a risky idea to store media, especially big files like yours, on the sys drive. Suggest an external firewire drive for media, and you will probably see improved response.
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I’m running CS5.5+ under OS10.7.2. I’m watching, but not biting, on further upgrades to the system right away, since it’s always been a little reckless to install an Apple “security update” too soon: they’ve tended to be buggy on first release. This runs on a MacPro 8-core with dual-boot capability (the default sys is OS10.6 Snow Leopard). So far, CS5 versions of Photoshop, After Effects, and Premiere seem to be functioning as advertised.
Apple’s push to iOS seems to mark all things OSX as EOL so far as Cupertino is concerned. This makes me leery of making any more seriously financed investments in Apple-based anything at the moment. Can’t predict where they’re going: I’m not sure even THEY know for sure. Best now to watch and wait.MaK
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I make a folder for each project on the media drive. All associated files generated by the app go there. (I started doing this as a freelance FCP editor: Have Drive, Will Travel.) Even the project file goes there, with alias calling that one. I back up the project on the sys drive. Two big benefits: 1. It’s callable from any host with the app, and 2. It’s very easy to clean once the project ends. There’s no relink issue, since everything’s “local”. Very convenient, and I’ve never had a moment’s problem.
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Thanks, Jon, but it seems these clips are stubbornly glued to the timeline, no matter what. It may have something to do with they’re being FCP QT P2 clips copied and moved into the PP project instead of transferred directly. I’m gonna try that next.
