[Mike Cohen]

Use two vga monitors with the dual head card – I find I need all the space I can get to work efficiently in Premiere.
As the previous post says, use your DV camera to monitor on a video monitor.
Beware without a Matrox RT product, the real-time previews on the video monitor are clunky, but rendered seem to work ok.

[Mike Cohen]

…or create a dummy project template – a project file which contains all the titles and other files you normally use. Then open that file, save as “Show xyz” and continue.

[Mike Cohen]

making a new file based upon old file, while clever of adobe, goes against every logic of how windows programs generally let you open and save files.
I don’t know what was so bad about how 1.5 on back worked. Save as (shift+ctrl+S) works good in every other Adobe program.

That’s my rant.

Mike

[Mike Cohen]

you can name audio tracks?

how do you toggle between tracks?

so you assembled scenes as nested sequences on your main timeline? don’t you find that plays clunky off the external drive?

What is your final product? DVD?

Mike

[Mike Cohen]

I for one have my 2.0 upgrade still sitting in the box. One of these days we will give it a go.
Coming from Media 100 where you can have multiple bins and timelines open in separate windows, and drag clips from one to the other to your heart’s content, moving to Premiere has required a different workflow. And why can’t you click in the bin, and hit a letter or number on the keyboard and be taken to the first clip beginning with that letter or number? Too much mouse work to find a clip.

[Mike Cohen]

Sounds expensive. Reminds me of the down line effect used in football broadcasts, which looks simple enough but is actually very complex and did I mention expensive?

You can get models of just about anything from Viewpoint Datalabs. With a locked-down camera you may be able to register it to a model with enough rehearsal time.

[Mike Cohen]

a quick way is to create a mild gradation as a background – maybe add some blur – try the satin layer effect in photoshop – then make a new document, with either clouds with blur or various soft shapes over a transparent background – make this image like 4000×500. Then in your editing program, do a move from left to right passng the overlay over your background. You can always take a slowed down shot relevant to your project and stick that between the two layers with like 10-20% opacity. Make the move as long as you need it and either render it out or nest the sequence, and use a 2-3 sec dissolve if you need to repeat it. Much nicer than a static background for text builds.
This is without using AE or Boris, do it right in your NLE.
Mike

[Mike Cohen]

I didn’t think Premiere would let you import a VOB with Dolby Digital sound.
Never works for me.

[Mike Cohen]

is this what we used to call “strobing” back in the DVE days?

What’s old is new again.

[Mike Cohen]

I always capture to an AVI file – or convert to a DV tape then capture that (so you can batch capture at a later date for the next re-edit).

Trying to find a program that works and then the time it takes to convert the VOB to anything useful, you might as well just capture to AVI.

Seems most of the ripping software goes to MPEG4, DIVX or some other intermediary format as most of the software is designed to let you rip movies to CD or your hard drive.