[Richard Herd]

Thanks Dennis.

Unfortunately, I need the CS6 stuff. A link would be very helpful.

The actual thing I have been researching is the audio of dynamic link: from PP to Audition. It does two things I don’t want it to do:

1. It changes the time code from the source clip to the timecode of the sequence;
2. It resamples my 16-bit timeline to 32-bit float.

Thanks!

[Richard Herd]

[Paul Neumann] “it’s foolish to let any bugs reach the consumer’s hands”

Maybe that was true in 1999, when all the delivery of the software was slow: packaging, shipping. But that’s not true in 2014 when the delivery of the software is fast: downloads.

Rather than spend a big effort trying to break the app with beta testers, it is more profitable to externalize to customers those costs by delivering the software and having the user base find and report bugs.

In fact, Order Management has been user tested extensively, and Apple does not bear any risk if it goes haywire; the users do via their credit cards.

Over to Adobe. Their documentation is terrible. I know they are working on it, but it is terrible; it appears they have externalized those substantial costs to the user communities, like the Cow.

[Richard Herd]

It’s very specific how to import MTS: use the media manager in premiere to navigate to the media.

If you plan to transcode, it’s wise to use the Prelude workflow.

[Richard Herd]

Usually that means you don’t have an audio track selected. You have to have two “buttons” in the audio track. One is the number designating where stuff goes, and the other is what other tracks will be affected by the edit; it directly to the right of the number.

[Richard Herd]

Then add a color matte, if that is an option. Click the “new” button in the bottom of the project pane and choose “color matte.”

[Richard Herd]

[Charlie Austin] “I’m not sure an auto-fade would be desirable, “

It should be like this: If the audio is in a secondary, then the collision creates a crossfade.

[Richard Herd]

[David Lawrence] “Question – how come you never see rectified waveforms as the default display for DAWs?”

Because it’s really not that important when using busses, compressors, wideners, and so on. By the time the signal flow has reached the master, the waveform sitting in the edit window is useless.

[Richard Herd]

[walter biscardi] “Ok, but if we do end up needing some of these things later or your brother makes the shoot run over, the rates will be double because they will no longer be part of the package but ala carte.””

Do you state that in the contract also?

Thanks!

[Richard Herd]

You should consult an actual attorney.

You have some weird stuff going, legally, and it is caused by the weird world of microbudget filmmaking.

It’s generally applicable that the photographer owns the work unless a particular agreement supersedes that First Amendment right (in the US). In the weird world of microbudget filmmaking (a venture to avoid, imo), everyone is considered a collaborator, not an employee, not a contractor. Being either of those requires actual agreements; and those actual agreements require worker’s comp insurance and proper labor conditions and so on. Microbudget filmmaking is not a work for hire agreement.

But wait there’s more…

Copyright laws designate a work. The person who creates the work holds the copyright. Any work created from the original work is called a derivative work. So here you go: The writer owns the script, the original work, and the photographer collaborated and now owns the photography, a derivative work.

So the footage just sits. No one can do anything until there is an agreement — which is obviously why people have agreements first.

[Richard Herd]

Layne,

Please send a link to the kickstarter page that has the upload requirements.

Thanks!

EDITED: I read that you can upload and link to YouTube. That’s a better option. Choose the YouTube preset in the export options.