[Paul Carlin]

There is a MacOS application called “A Better Finder Rename” that I use for this type of situation.

publicspace.net/ABetterFinderRename/index.html

publicspace.net

A Better Finder Rename is the most powerful and complete Mac file renaming application on the market.

A Better Finder Rename is the most powerful and complete Mac file renaming application on the market.

[Paul Carlin]

Even after you find this adapter you’re looking for you may discover that there is no modern driver to support the device you are connecting. The best way to do this is to also find an old computer that is running an OS from the era of the adapter. The other issue is dealing with how to capture the video (DV deck, dropouts and cleaning the video heads and tape path), obsolete software needed to capture DV, how to convert the DV once you do (Mac no no longer supports this codec natively) and so on.

I would strongly recommend you consider farming it out to a company that does this and have them make NTSC 29.97i ProRes 422HQ movies for you. Your time is too valuable to attempt doing this yourself. You will need that time to learn how to properly deinterlace the footage and upscale it. I recommend interpreting the footage as interlaced and dropping it into a square pixel 59.94p comp in AE and setting the comp size to crop out the blanking. Then use Neat Video in AE to remove the noise and render this out as ProRes 422HQ. Take this 59.94 clip into Topaz AI and upscale it. You will need to test the different algorithms to find one that works best for the content you are dealing with. Good luck.

[Paul Carlin]

When Adobe added the “Pro” to Adobe Premiere at NAB in September of 2003 (yes, I’m that old), version 1.0 had no ability to import or export EDLs. I knew right then that Adobe never intended Premiere Pro to be used by actual professionals and it was nothing but a marketing ploy.

They did add mediocre EDL import and export capabilities in version 1.5, but still never took it seriously (meaning, making it actually usable in a professional environment) until 2019 when they actually implemented fixes to the hobbled ability to export an EDL.

[Paul Carlin]

The hotkey is a toggle. You press the hotkey and you either get all off or all on. If you don’t get what you’re looking for the first time, press it again.

[Paul Carlin]

To toggle enable/disable the “auto track selector” for all video tracks the shortcut is:

Option-F9 for Mac and Alt-F9 for Windows and Linux

For the audio tracks use:

Command-option-F9 and Ctrl-Alt-F9 for Windows. Be careful using this with Linux as it will switch your virtual terminal instead and your screen will go black (Use Ctrl-Alt-F1 or Ctrl-Alt-F2 to recover).

If your goal is to force a clip to land on a particular track, then you can skip the above and simple ALT-click (option-click) the “auto track selector” for the track you want to isolate. Repeatedly Alt-clicking the same auto track selector will toggle the inverse of the selection. This works for the locks and disable track buttons as well. This is a quick way to enable one track while simultaneously disabling all others (or the inverse of that by clicking twice).

[Paul Carlin]

This video seemed pretty relevant:
https://youtu.be/PfKSPzDQ_Es

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[Paul Carlin]

You may need to remove the noise from the clip first before adding it back in. Otherwise, you are adding noise on top of noise. Let’s use your example of freezing a clip at the end. You would wan’t to remove the noise from the moving clip and the freeze at the end first. Then add the noise back in, being careful to match the noise signature of the original clip. This is a subjective skill and requires attention to detail. This is a common technique used for compositing new elements to a scene and making them look convincing.

[Paul Carlin]

The compression used in the EXRs may make a difference. PIZ and ZIPs require less bandwidth, but are heavy on processing to decompress in real time. Uncompressed requires lots of space on the drives and lots of bandwidth, but very light on processing. You should do tests using all three types of compression to see which works best for your setup.

You can also use a proxy workflow. Build DNxHR 4444 proxies, or even half size EXR proxies for real time playback. When it comes time to render, Resolve will automatically pull from the full res originals. For color, it’s very hard to see a difference between 4K and 2K.

[Paul Carlin]

iZotope RX 10 Advanced is the ultimate tool for cleaning up audio and isolating speech, but it comes at a price of $800. DaVinci Resolve’s built-in Fairlight is also a comprehensive DAW with many of the same plug‑ins for cleaning up and repairing sound.

[Paul Carlin]

Same advice as everyone else. Get the most you can afford. I would prioritize memory over processors. If what you can afford isn’t good enough, then make proxies of your sources and work with those.

If you want to save $300, look into using Davinci Resolve for editing. Then when it comes time to do color, you are already set to go. Also, the audio tools in Resolve are top notch.