[Richard Herd]

[Stefan Evans] “So, on premier I can export as 24 bit color depth or 48 bit.

now an 8 bit dslr footage = 24 bit right?
so 48 bit would a 16bit file?

But if I send it to after effects and change it from billions to trillions of colours, this is how I make it a 10 bit file.

so is 48 bit (16bit) better than 10 bit (trillions of colours)?
“

You have three color channels Red, Green, Blue. Each channel is 8-bit. So there are values in each channel that are 2^8=256 steps, which is (0…255). When we say 8-bit, we mean 8-bits per channel; we do not multiply.

Here are two really important articles for much more information than you ever really wanted!

https://www.theasc.com/magazine/jan05/conundrum/page1.html

https://library.creativecow.net/galt_john/John_Galt_2K_4K_Truth_About_Pixels/1

If your image capture is 8-bit, then adding bits to the image is not really going to change the image (except is file size) because the data are not there to begin with.

[Richard Herd]

[Craig Alan] “I wouldn’t mind a stand that would place an iPad slanted from the keyboard up to the bottom edge of my computer monitor with a button to toggle my keyboard/mouse/pad being used for either the computer or iPad display.”

I cannot remember the app I used to use, but it is worth googling for “KVM over IP” (keyboard, video, mouse over internet protocol) or other such combinations, and the IP/KVM app I used was between computers in 2006 – 2010, so I’m sure by now someone somewhere has a mac to ipad IP/KVM.

[Richard Herd]

I could only give you one +1. So here is more +1 +1 +1 🙂

[Richard Herd]

[Oliver Peters] “Of course, a mixer may deliver a spot or show within spec and then it gets jacked up down the line, through distribution and transmission”

In reality, the spots I master are almost always louder than -12, and I am the guy who fixes it — yes, in Premiere CS6. The Dynamics filter is great and the audio mixer is too! The files I export sit on an ad server waiting for tone, then they are broadcast. Lots and lots of Toyota.

[Richard Herd]

[Oliver Peters] “This is even more critical these days in broadcast, where CALM Act loudness compliance is becoming a delivery requirement. I can do that easily now in Premiere Pro and Audition. I can do it in Logic Pro X if I buy third party metering. I cannot do it inside FCP X.”

You can and cannot do what exactly? How does measuring the db level change because of the CALM Act?

Thanks!

[Richard Herd]

Well now we are in the weeds here. I don’t post on the weekends, so if you don’t look back that’s quite all right, and so I won’t spend too much time in the case this is dead discussion.

The evidence in the xml document may or may not be a relational database. Nothing in the document requires a relational DB. I detailed a scenario where it could be a single table.

My last project xml-ing between DBs was in 2008, so I am definitely rusty. At Caesar’s Entertainment in Northern Nevada we exported slot data and jackpot wins while excluding customer data into a Scala script that integrated into a mograph celebration and audio celebration. We called it “popping the floor.” It was many relational databases synced into one video presentation. I did not write the XML document. I created the mograph and audio and I wrote the Scala script (which is VBS).

XML is brilliant at dup and reorganize. That’s what it does. Cherry pics data and reorganizes.

Dynamic Link is brilliant. I believe PP is the hub (according to stuff Kevin M has posted, mostly in passing, about using PP as a hub) because it is supposed to be the superstructure. The organizing application. And I’ve been using it like that since November 2013, and it’s simply brilliant. For example, I cut the rough in PP and then line up any mograph elements in the timeline by stacking them. When I import PP project into AE, they are all aligned perfectly and I precomp etc. and then back in PP import that comp and replace. This line of reasoning makes it appear to me as a single table.

(I’ll stop here in case it’s a dead thread.)

[Richard Herd]

[James Ewart] “a traditional audio mix window anytime “

No way.

At best we can hope for is some kind of Roles Inspector type of thing. Where the Roles are “tracks” that can be mixed (volume, pan, fx, send). Although I continue to lobby for it, I have no real hope to see it.

[Richard Herd]

These are golden!
Thank you!

[Richard Herd]

Try slowing down the audio to .999 ( 23.976/24).

[Richard Herd]

Can you use the audio mixer? As long as they are all on the same track, you can boost that track. You can even get more fancy and add effects, buses and such.