[Reid Vanvoris]

Wow Dave,

I found your reply to be unnecessarily rude.

Not be be chippy right back at you, but do you actually edit anything, ever? Snapping is very convenient. It does need the option of being turned on and off occasionally. There is a button for that in the Timeline interface and a keyboard shortcut. I was just wondering why it’s defaulted to “off” in general preferences and needs to be activated for the on/off function in the Timeline to work. I was just wondering why that pref existed and whether or not I might be missing a functionality that might help me by knowing.

I still don’t think you understand what I was asking and why, but never mind. Sorry to bother you.

Next time, if a post annoys you, please just don’t answer it.

Thanks.

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

Dear Dave,

Thanks for responding.

What I’m referring to are 2 things. First, in Preferences>General there is a check box that says to “enable snapping when snapping is turned on.” The “snapping” on/off button is in the track header of the Premiere Pro timeline. It looks like a small horseshoe magnet. When this button is active, the playhead snaps to the head and tail of clips on the timeline and to markers. If the Preferences>General check box is not checked, no snapping occurs, no matter if the track header button is active or not. The check box inside preferences>general seems redundant and even awkward, since if I enable snapping in the track header, I want snapping to occur. I didn’t do it by accident. I wasn’t kidding. I really wanted snapping to function, but if it’s not checked inside preferences>general then it does not snap, until it is checked. Seems to me like the preferences check box is not needed and a little annoying at times. My question is, why is it even there? What’s it for?

Now the “Select Range>Entire Sequence” issue is in File>Export>Media. The media encoder window export source range is defaulted to “sequence in to out.” Unless most people are outputting just portions of their projects, sort of as a test, prior to outputting the entire project, I think the source range should be defaulted to “entire sequence,” as I find myself having to change this setting to export my finished projects every time before I export. What say you?

Any one from Adobe have answers?

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

I believe the SD-HDI out of the HPX500 is 8-bit. The KiPro records it as 10-bit, but the 4:2:2 color space is what will count most for the keying you’re trying to do.

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

Thanks. I mis-read it the first time. Gotta check my glasses (and my brain) 🙂

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

also try these camera setups

https://www.vimeo.com/7622493

Reid VanVoris
e-Mail: r1108@hotmail.com

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[Reid Vanvoris]

check here for a free complete guide to dslr video shooting

https://www.nofilmschool.com/dslr

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

Try converting your AVCHD footage to XDCAM EX using the free MPEG Streamclip. The EX codec will make files that look as good as the ProRes FCP will trancode your AVCHD files to and they will be much smaller files on your HD. Here’s a tutorial video that talks about files from the Canon 5D Mark II, but your HG10 files should work the same. Make sure to then use the XDCAM EX Easy Setup in FCP to set your FCP Sequence for editing:

https://www.videosurf.com/video/how-to-convert-5d-mark-ii-h-264-footage-to-xdcam-ex-for-native-editing-in-fcp-53450853

Here’s where to get MPEG Streamclip freeware: https://www.squared5.com/

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

Try this $100 solution from Nattress. Very high quality for software conversion. Then you can go ahead and use the terranex box you already own.

https://www.nattress.com/Products/standardsconversion/GAddPull.htm

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

One thing you need to pay attention to is the format of your cameras. It sounds likely that you are using DV. In that case, your Western Digital FW400 drives will be OK, if they have Firewire. For some strange reason Macs don’t love usb connected drives for video editing.

Be careful and read up on camera specs and format requirements for FCP and FCE if you currently use, or are considering using AVCHD cameras, as these require stronger multi-processors, more RAM, and the faster drives Mr. Biscardi recommends.

RAID drives provide speed and/or data protection, but are probably out of your budget range. FW800 drives are great, but not necessary of you are using DV25 (mini DV), or even HDV.

Not to throw a monkey wrench into the equation, but have you taken a look at Adobe Production Suite CS4? You can run it on PC’s (or Macs) and, as you know, you can purchase nicely powerful machines that may be more cost effective than Macs (check required system specs at https://www.adobe.com/products/premiere/systemreqs/). See funding: https://www.adobe.com/education/resources/k12/funding/

You could also transfer any existing internal drives from your old machines to the new ones, saving cost there (check compatibility(EIDE vs. SATA, etc), of course).

The Premiere Pro video editing is quite similar to FCP. You also get Photoshop, Illustrator, Flash, After Effects, Soundbooth, Encore DVD, all very useful software your students can use on their video projects and other multimedia projects they might do.

I feel Adobe offers a much more useful software package for doing the type of multi-tasking that might be done in a high school (much better than LiveType, Motion, Color, and Soundtrack Pro which are highly specialized and have steep learning curves.) And there are great training resources for use in your curriculum, both paid and free for all Adobe products in the suite. https://www.adobe.com/education/resources/k12/

Anyway, it’s something to consider.

Reid VanVoris
e-Mail: r1108@hotmail.com

[Reid Vanvoris]

Thanks, folks. I really appreciate it.

I also found a transfer software provided by Panasonic’s website for transcoding to DVCPro HD on transfer:

https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/download.htm#avchd

But, I guess I could start a whole new thread about the quality issues between transcoding 1920×1080 AVCHD to 960×720 DVCPro HD or to ProRess 422 145 or HQ.

Any thoughts on this?

Thanks, again.

Reid VanVoris
e-Mail: r1108@hotmail.com