Ron Shook
Forum Replies Created
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Matthew,
[matthew Romanis] “The fact that the P2 card is 8G and has the data rate to handle HD100 already makes it 6 times the 4g CF card for data transfer rates.”
8gig Professional grade CF cards have a data rate of, I believe, 110 Mb/same, which is roughly the same as P2 cards, isn’t it? If they weren’t at least close to that fast, Infinity couldn’t use ’em.
Ron Shook
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Matthew,
[matthew Romanis] “I guess the question that needs to be asked of the Camera manufacturers is that now they are making devices along the same lines as the IT industry, are they going to make it as simple to embrace new technology by making the current drives and devices swappable? Will I be able at some future date tale the P2 drive out of the camera and replace it with a P3 unit ? (???doesn’t exist, but for example).
My guess, through 20 years of experience with broadcast manufacturers and how they engineer products, is no.”Your post is astute, and at first kinda scared me. But…, then I realized that as long as any camcorder has an IT I/O interface like 1394 or gig ethernet it is pretty future proofed as far as file recording is concerned. Even if Panasonic had to move from P2 to the fictional P3 in 2 years to get higher memory densities, they or a 3rd party could easily supply a two slot, very small form factor, relatively inexpensive P3 writer device to attach to the camera via 1394. I don’t think that’ll happen as those P2 cards seem to have a lot of room for expansion. Look at how big they are in comparison to the same capacity compact flash cards. It ain’t all armor.
Ron Shook
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Marisu,
[marisu fronc] “This is true, but NOT on the same track – you need to specify if you want a mono or a stereo track, if you aren’t careful you can get things you want together all higgledy-piggeldy across them – or tracks stacked in an order that is confusing at best (especially if you regularly with with an audio sweetener who is used to a certain layout (ie: VO on ch 1, interviews ch2, sync ch3, sfx ch 4-6 and music ch 7 & 8). Certainly not a BIG deal, but I’d love to be able to reorder the audio tracks once on the TL, and I’d REALLY love to be able to put mono and stereo clips on the same track fi they are the same TYPE of thing (sync for example).”
I see what you mean. Bigger changes needed than I thought.
Ron
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Tim,
[Tim Kolb] “Unfortunately the only way I’ve found to handle this in PPro v1.5 is to select the clip in the Project Window, go to Clip>Audio Options>Breakout to Mono Clips.
This will break the Video+Stereo Audio file into three files,a video and two mono audio files. These need to be placed on the timeline and manually synced…if they’re untrimmed they could ‘snap’…and select them all, right click and select “Group.””
I’ve ranted and railed on this thread, so it’s only fair that I should indicate what I’d like to see, even if it has no effect.
Your answer indicates that both stereo and mono audio clips can be used on the PPro timeline. That’s a good thing and a good start.
1. The fact that the breakout to mono clips leaves the video and audio unsynced from the original clip forcing manual resyncing on the timeline is by far the most ridiculous and unwieldy part of the audio handling, IMO, and the reason I couldn’t live with this as is for any more than a short length of time. If this were fixed I could live with it until the following features were implimented.
2. Allow capture and import to have selectable preferences for video + stereo audio automatically panned L & R by default, or video + 2 mono tracks automatically panned center by default. Everything synced until you say otherwise, of course.
3. Allow capture and import to also have preferences for capture and import of video + either audio track 1 or 2.
These are in order of importance, 1 & 2 being critical to any NLE that calls itself “Pro.”
Ron Shook
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Brian,
[Brian FitzGerald] “I think the Holographic disks that have been discussed in this group will trump both of these technologies in short order.”
It sure has the potential, particularly since both the DVD HD camps have have mostly dithered away the possibility that they will make a big splash, helped to it by the Film distributors. However, I was very disappointed with the showing of Holographic technology at the last NAB, so we’ll see if they can make up for lost time in their opportunity space before what?, solid state memory? (g), makes them obsolete. There’s always somethin’ new.
Ron Shook
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Tim,
Thanks for settling that one. Oh, well. (g)
Ron
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David,
[David Cherniack] “But let’s face it, with stories like what’s come down in this thread we’re not likely to see the core design issues fixed. Maybe after a hue and cry when 2 comes out, but then it could well be another two year wait.”
I’m not quite that pessimistic, with still a little bit left in my wait and see tank. (g) After all, perhaps because it’s been 2 years or nearly so when 2.0 is finally out, I have some hope that the dozens of design flaws will be whittled to a manageable number, but…, like I said before, if this stereo audio thing isn’t licked by at least far more efficient workarounds, No Way. That’s just too basic and necessary. What value is it to me to get the very great wow capabilities of Axio at a premium price, to give twice as much time saved back doing audio contortions? We are talking pretty much amongst the old edit* guard here and none of us are PPro experts, so maybe we’ve missed something. I hope that an expert can disabuse us with some reasonable workarounds. I haven’t heard any yet.
Ron
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Marisu,
[marisu fronc] “All I can say is – be glad YOU get to choose.”
Glory Be, you bet I am glad. These kinda gotchas are most destructive, and you’re one woman I wouldn’t wanta be in the same room with right now, as much as I appreciate the heads ups and your pre-bald beauty. (g)
Take great care,
Ron
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Herb,
[Herb Sevush] “If you get these kind of tapes to edit very often (as I do)”
For me, it is by very far the rule rather than the exception (discreet audio on each track), and I would think that it would be the same for anyone who isn’t editing trailers and consumer camcorder material, i.e., professional production source tapes. This is the first time in my life that I wish I could use an animated emoticon graphic of a huge shrug, rather than clear language to express something.
Ron
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[Herb Sevush] “The worst part about it is that 2 NAB’s ago I spoke to the main PPRO designer outside the Adobe booth and he didn’t even understand that it was a problem.”
I gotta tell you, Herb, I am just agog at this or to borrow from Marisu, “blatt, blatt, blatt”ed. How anyone with even a rudimentary understanding of what an NLE is for, let alone the main PPro designer, couldn’t understand it is,…is,…I don’t know. “Stereo” is for output, not input, unless all you’re editing is something like a music video to a pre-recorded track. How could PPro feature “cool” 5.1 mixing and leave things this way. Trying to cut and edit video and audio with a 5.1 mix on a documentary or drama, particularly with a lot of natural sound, would turn into a nightmare of epic proportions. If this isn’t fixed in version 2, No Way!
Ron