Norman Frizzle
Forum Replies Created
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I use the zoom, but it only zooms to the centre of the frequency range. Cant even scroll down from there.
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If you are using ENCORE 2.0, there is a checkbox for 1:33 or 16:9 at the bottom of your settings page for compresion details etc.
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I should have made myself more clear. When I used Canopus, it was with 1 and 1.5, at which time PP had certified it for acceptable use. It was iffy in 1.0, but even worse in 1.5.
As soon as I learned that Capopus was not and would not be certified for PP 2.0, I removed it from my system. For the present I use system resounses. I have to unless I want to pay $1000 for the ASA card, the one and only choice Adobe offers me for alleged compatibility, plus $2000 plus more for the system upgrade I need to operate it.
I do my generic DV captures on a generic card. Since I don’t have a capture card with dedicated resourses, I certainly cut PP some slack in the playback. But I do expect the software encoding to work.
IT DOESN’T.
Aanarav, whatever anomalies you encounter as a beta tester are obviously dealt with first-hand by Adobe gnomes who are at your beck and call. Your experience therefore cannot possibly be typical of the end user.
When the rap sheet sheet for the ‘failed to return, etc’ is a mile long, the problem did not as you say “go away”. It has NEVER EVER gone away. And if a patch from Media Encoder did the trick, then why have there been several of them? Why don’t they fix the problem?
You are in an enviable position. You have a problem, it gets fixed.
I have a problem. It doesn’t.
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Paul, you make a valid point. My ‘rant’ was originally intended as part of an earlier thread by others noting the extreme time it takes for MPG compression, with or without large still images.
More seriously, I encounter system crashs, not just a dump out of PP but my whole system crashing. (And yes, I have had my system checked for integrity.)
I was initially very impressed with the Production Suite integration, until I found that at times my Edit Original is whited out, not just in PP but in (as I recall) AE and PHOTOSHOP as well. I thought maybe I needed to have my timeline highlighted or something, but no matter what I do, there are occasions when I cannot access this feature.
I still get the dreaded ‘failed to return a video frame’, a catch-all malaise that has never been adequately addressed in PP. And if anyone has ever followed the maze of troubleshooting for this issue that Adobe provides (in an area of its site not very helpfully signposted), they will know how frustrating it is to come out the other end no further ahead.
I have a Canopus Storm 2. PP 1.5 supported it, but it never worked well. Now I understand that Canopus is not even attempting to seek certification for 2.0. Members of Adobe’s promotional tour confided in me that as long as Canopus is effectively a rival with its own Edius editing software, Adobe is not inclined to be terribly cooperative.
Whether or not this is true, what is a red flag for me is that PP 2.0 was released with ONE certified hardware system from ASA, for which Adobe itself designed the drivers. The implications of this are disturbing for me. Adobe’s attitude seems to be that if you are lucky enough to have a system in common with the one that it was tested around, you’re in clover. Otherwise, you need to cross your fingers and pray.
You may very well have in store for you what I went through with 1.5, namely, acheiving about 1/3 what my productivity level would have been if I hadn’t spent the other 2/3s of the time uploading new patches, or spending hours on the phone to Adobe techs seeking work-arounds, or waiting out grotesquely S-L-O-W renders that ENDED on the last second with the ‘failed to return a video frame’ message.
And Dave, when I speak of ‘third party’, I’m referring to Dolby and Media Encoder, in particular the latter. Adobe includes it as a feature, yet when it poses problems interfacing with PP, Adobe disowns it and fobs me off on its maker for service. But it is, after all, how Adobe intracts with these products that is at issue here.
I have innumerable other difficulties in getting my work in and out of PP.
Incidentally, I’d be interested to know just how many beta testers were using Canopus Storm 2, which is generally conceded to be a stable and respected system.
I have to wonder if I am being penalized for chosing a system that happens to produce editing software rivaling Adobe’s own.
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At a recent Adobe seminar in Vancouver, I understood from a presenter that Adobe programmers did the drivers.
I later contacted Aja to clarify confusion I had over which of their boards I should consider. I was wary when I learned that only one, their middle-of-the road Xena model, had support for Premiere Pro 2. Moreover, it was the only one they EXPECTED to offer support. I might add that the rep was less than enthusiastic about Premiere Pro’s own inplementation.
This, coupled with the fact that the Xena card’s spec requirements requires a whole new motherboard, chips and memory, and all at a price premium (more than $2000 Canadian AFTER the cost of the card itself!), have cooled me on the ungrade for the moment.
What disturbs me is that Adobe has alienated capture board manufacturers like Canopus (the board I currently use) who find it too punishing to pursue certification in the face of Adobe’s passive resistence.
When Adobe released Premiere Pro 2 with only ONE certified third party card, I arched my eyebrow.
When I start hearing that the drivers were a rush job for software that was already pushed out into the cold outddors without its clothes, I gotta start thinking more and more seriously about moving to another platform.
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Didn’t it occur to anyone at Adobe that most interlaced footage NEEDS to be deinterlaced for accuracy in rotoscoping?
Why no audtomatic procedure, or at the very least a keystroke that toggles between fields? Is rotoscoping so rare in interlaced video?
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Sorry about the previous message, it was intended for another thread.
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What path did you use to find this option?
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Each filter relating to color correction will have its own features, and its own means of setting them. There are independant graphs and meters within PP X which you can use to compare one shot with the next
I personally tend to eyeball it.
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If I understand you correctly, rp, the answer is YES.
You only need to color correct one clip. Highlight each element of your color correction (if you are using more than one filter to do the job), select COPY command.
Next, select every other clip to which you intend to apply the same color correction, then use the PASTE command.
You should find the filter or filters, all with identical settings, on all your selected clips.
(Be careful you don’t include the original clip you used to copy from or the PASTE command will add a duplicate of the same filter or filters.)