Petros Kolyvas
Forum Replies Created
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I got it to work with the Hyperdeck Shuttle 2… so while this thread is old, hopefully someone with the same question stumbles here and finds what they need.
When you first connect the iPad to the Shuttle 2 via HDMI the “video signal presence” light does not illuminate and the Shuttle will not record.
Here’s what works every time: on an iPad 2+ running iOS 5+ (I haven’t tried it on an iPad v1 or v2 running iOS 4.x) open the Apple-supplied “Video” app. Even if there are no videos on the iPad, it will negotiate a new format for video out with the Shuttle 2 (720p60) and maintain that signal even when you quit the app so you can record whatever is happening on-screen in Safari or any other app.
We captured iPad screens being used by kids in-school today to DNxHD without fail.
Next up: trying to force 1080p… 🙂
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
As far as I can tell only the Adobe affects work on individual tracks.
For example, RX2 advanced plugins and Ozone 5 advances plugins only show up on the list in all of our Premiere Mac installs (3x) on the submix and master busses.
Now, I want to be wrong here, so can you provide slightly more details?
Many thanks!
PK
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
It doesn’t work here. We can capture an iPad 2’s output on our AJA Kona card, but that’s not portable as it’s attached to a Mac Pro in an ISO Box!
The iPad 2’s video out seems to switch dynamically but the Hyperdeck Shuttle 2 won’t pick up the signal even though it plays fine to a TV in addition to our Kona.
Anyone else have success?
Many thanks!
PK
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
Collaborative workflow is still very IT/IS challenged in PrPro. But it’s not impossible and really, with some effort and a few caveats, very reliable.
When it comes to export presets, thankfully they can be managed more easily since they’re independent little files.
One way is to make sure editors get a shortcut to the location of the AME presets. I don’t know what it is on windows, but on Mac it’s:
~/Library/Preferences/Adobe/Common/AME/5.5/Presets
(And in case anyone isn’t familiar with *nix nomenclature “~” is the home directory of the current user/logged-in user account)Then all you need is some kind of shared location on a network where presets can be dumped/copied and/or synced.
In fact, with a good rsync/shared folder/automator setup, you could actually have each system sync preferences before running Premiere or AME such that each machine is synchronized on application load.
There are also probably third party tools out there that can do this, but hey, that’s no fun! 😉
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
I’m pretty sure no midi hooks and/or HUI/Mackie Control/EuCon is available in Premiere CS5.x for control surfaces. Here’s to hoping that changes and that #JohnAdobe is listening. 😉
I’d love to use my Euphonix surfaces with Production Premium.
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
Hey there! 🙂
Use the audio mixer (under the “Window” menu) and go for gold! It seems like your tracks are well organized so as long as you’re hearing what you want to hear when you playback within Premiere it should all get mixed out to Stereo.
If, for some reason your sequence has a 5.1 master bus, you can always create a new stereo-bussed sequence and just copy/paste your project.
I hope this helps; I’ve had a long day and feel like I’m not offering up much here.
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
[Erik Mickelson] “Pro Tools??? Skip it, Avid will charge you an arm and a leg to get to the point Audition is at(integrated with Premiere). Does it even have native noise reduction at the spectrum level? Pro Tools doesn’t even import OMF’s without a $1000 plug-in.
ProTools 9+ did away with the DV Toolkit requirement and thus any ProTools install (no LE anymore) will import OMF. Just had to clear that up.
As a long time mixer – my preference is to work outside of the NLE for detailed audio work, but I do understand that’s not viable for every workflow and sometimes you just need a simple job finished within the editor.
It does look like Audition has a capable set of tools, but since the OP asked for plugins that work in Premiere, that’s what the bulk of the answer was for. 🙂
Good luck all!
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
I am an RX2A user here. It works suprisingly well in Premiere but for anything detailed, I’d process the audio outside of Premiere in a dedicated application like ProTools, Logic Pro or the like.
There are other “restoration” plugins as well like the Sonnox ones, but they cost as much as RX2 Advanced.
There is a trial of RX2 but I don’t know how the trial works in “plugin” mode. However, I will say that it’s been worth every penny. I started out with RX1 when it was released now 5+ years ago and haven’t looked back.
The Declipper alone is worth the price of admission with all sorts of media coming in from people who don’t monitor audio while shooting. It can often pay for itself in a single job (and in our case did!)
However, and back to your case, if you don’t like the round-tripping workflow, the plugins will at least provide some help, but remember that 3rd party plugins don’t work on individual tracks, only Submixes and the Main out. So just something to keep in mind when you’re wondering “where are these plugins?!”
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
One other option is to make your entire slide-show a “movie.” That is add the stills, transitions, and movie clips on the timeline and export it as a single video and then just have it loop.
It’s hard to know if resolution will make a difference within Powerpoint as the number of variables are quite high – it doesn’t mean you shouldn’t try though!:)
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
This article, on Intel’s site, is referring to their own hardware-accelerated H.264 export, not h.264 export in general.
Premiere can, of course, export H.264 on Mac. In this case it would be using the MainConcept encoder (the H.264 format option in AME/Export) and not the Intel encoder mentioned in the link you provided.
You can add a Matrox CompressHD card if you want hardware-accelerated H.264 compression on a Mac (or any of their MAX-enabled products).
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger