Stephen Abbott
Forum Replies Created
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I’m a long-time Wacom user. I’ve gotten so used to Premiere’s bad handling of dragging keyframes and number sliders that I’ve given up and gotten used to typing in almost all of my keyframing with the numberic keypad. Clicking and dragging felt like it had way too much acceleration included: I’d end up with very large values all too quickly.
However, it appears that Premiere CC2015 is a lot better. Value adjustments under Effect Controls are significantly more stable, and timeline clip keyframes (rubber bands) are a bit better.
Mac OS 10.10.4
Wacom Intuos 3
Wacom 6.3.11w3 (from Jan 2015)Anyone else seeing this improvement?
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Hi Nicholas,
Sheesh, it’s been quite a while! I haven’t used Vegas in maybe 2 years, but here’s what I remember.
(Also, newer versions/new applications may have fixed my problem)
Vegas will surrender clip/timecode/(and probably reel? can’t remember) information from the Edit List window to the clipboard. I pasted this info into Excel, then reformatted everything to be the same as CMX3600 EDL.
To get this CMX3600 specs, search the Cow or simply export a different timeline from FCP to this EDL and open in textedit.
Once reformatted, I handed the EDL to FCP for import, and then recaptured from the original tapes.
As I recall, the TC was a bit off (a few frames) – or my equipment was! To solve this, I exported a DV MOV from Vegas and laid that on my FCP timeline. Then I slipped each recaptured clip by hand to make sure it was frame accurate (cut points were of course fine).
A neat trick: to make the comparison easier, I set the reference clip from Vegas to Composite Mode: Subtract in FCP. Then, any visual difference (ie – TC off) will show up as *not* black. Then you slip the recaptured clip around (keyboard +/- frame steps) until you only see black… voilà !
I hope this helps. The big step is getting Vegas to surrender an EDL in whatever form (EDL output plugin crashed), then reformatting to CMX3600 is just manual labour, and recapturing likewise.
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Update:
The next day the artefacts are gone! No change to compression settings, but:– rebooted
– changed qmaster preferences to use 2 coresStrange, but thankfully fixed.
Stephen Abbott
sabbott@gmail.com -
Hi Luke,
I had the same problem with DVPROHD 1080 50i (upper field first) footage in a DV PAL 50i (lower field first) timeline.
The solution: let FCP add the shift field filter to sort out the upper to lower. Then select the clip and pre-compose it (alt-C), then do the slow-down on that nested sequence. Smooth results, even though it’s a bit of a mission. In the end I did this in online once I was happy with the cut, retaining editing flexibility (but ugly fields) in offline.
Something about the way FCP applies the shift fields filter *after* re-timing a wrong-field clip messes things up completely … I guess.
Stephen Abbott
sabbott@gmail.com -
Hello again,
Success! I moved from Vegas to FCP like so:
Set the “edit list” window to display all events, then copy all the data to Excel. Clean and format in Excel, then export to .EDL/.CSV and make the necessary changes to turn this into a CMX3600 .EDL.
Sub-clip timecode then comes through just fine!
Best,
Stephen Abbott -
Thanks for the replies.
That clarifies my understanding of PAL 25P perfectly, and answers my workflow problems at the same time.Regards,
Stephen Abbott
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Ok, thanks for the help nontheless!
Stephen Abbott
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Right, so short of Automatic Duck 3.0, any ideas or options from anyone? I’m currently doing a raw QT export from Avid for any shots that need AE, but this is time-consuming and inflexible.
Thanks!
Stephen Abbott
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Hi again,
Tried Automatic Duck Pro Import 1.0 on a colleague’s system (using a link media OMF export)… similar problem: interlaced OMFs import fine, but the Duck doesn’t understand the PAL 25P files, instead generating the “Unsupported Media” error.
Nice timeline import, nontheless. 🙂
Regards,
Stephen Abbott