Tero Ahlfors
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COW Coins
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Solve Coin
Forum Replies Created
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Do you want to slip the footage inside the clip you’ve already edited? The slip command can do that.
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[david furst] “i’ve just started using premiere pro”
Read the manual.
[david furst] “problem 1 – how can i change the hair color of a model in a scene ?”
Either reshoot the scene, hire a professional VFX artist or learn After Effects or Fusion or another compositing software.
[david furst] “problem 2 – i want to cut out the eyes of a figure on-screen”
Pretty much the same answer as the previous but you probably don’t need a reshoot.
[david furst] “problem 3 – on v1, i have a clip showing a slo-mo of a pane of glass shattering. on v2, i have the primary footage. the effect i’m looking for is compositing the primary footage onto the shattering glass, so it looks like it’s the primary that’s shattering.”
You can’t do this in Premiere.
[david furst] “- how can i get rid of those annoying little pop-up hint bubbles that appear whenever i move the mouse into the project media window?”
There might be a setting in the preferences for that. That said it’s actually handy to see footage information at a glance.
[david furst] “- how can i move the cursor to the beginning or end of the next/previous clip?”
Up/down on the cursor keys
[david furst] “- how can i move the cursor by larger arbitrary steps than just 5 frames [for example, 1-second or n-second intervals], irrespective of markers?”
You can move forward in the sequence by having nothing selected and then hitting the plus key on the numpad and inputting the time you want to jump forward.
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If you check your first screencap it actually says the source is stereo. Have you assigned the tracks to the correct track numbers?
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Prores XQ doesn’t work on Premiere in Windows. They might open in Resolve.
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[Michael Gissing] “The irony there is the file sizes are sometimes as big or bigger than the 8:1 compressed 6k RAW.”
If the storage/workflow is specced for large resolution image sequences they’ll probably run better than compressed RAW because you don’t need to spend computing power uncompressing it.
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Premiere has internal encoder/decoder for some Quicktime codecs so you should be fine if you’re using Prores. You can also install only the Quicktime components when installing the Quicktime player so you get access for the “legacy” codecs. Also Quicktime player is not a security risk unless you’re opening some shady stuff from the internet.
I would not use h264 for anything else than a internet master and I would actually use DNxHD. You can get the Quicktime codec for that from Avid. It’s free and it’s multiplatform.
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Unless something really bad happened in the transcode I actually would prefer Prores or DNxHD/HR files.
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They’ve upped the CUDA compute capability requirements from 12.5 to the new version. If you have a fairly new card then it should work but it’s culling some older cards.
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It’s not “why has no one made X” it’s more like “there’s been a bunch of tries to make X but it doesn’t actually work in a real world setting”. One could get all the money and awards for an actual magic bullet but it’s been mostly talk.
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[Bill Davis] “If you have counter material from equivalent sources arguing that Adobe or AVID or Resolves methods of doing this stuff are better – bring them to the table. Seriously. Please.”
It’s not a competition. It’s not about who’s better. It’s about using the mutually agreed upon standards on making fast and accurate corrections. There are obviously feature differences between pieces of software but if you learn the basic tools on one you can easily transfer that skillset to some other program. Or if you’re learning from a book that’s also what you get. I started with FCP classic and went on to Color, AE, Color Finesse, Premiere, iQ, Smoke/Flame/Lustre, Speedgrade, Fusion, Nuke and now I’ve parked on Resolve. Every single one of these worked like I expected them to and I could use the skills I’ve learned along the way and learning only the program specific new stuff.
If for some reason the tools would not work like that I’d probably first think I’m in a special mode (like the log tools in Lustre or Resolve) and not that there’s something wrong because every single software has used the same standard before.
Those Phil posts have a lot of good technical stuff but it’s mostly irrelevant tech jargon in this case. Instead I’d really like to see some real world footage this new approach is supposed to tackle well. I don’t have FCPX but according to the information I’ve gathered it would take multiple corrections to do one if the shadows and highlights don’t stay where they’re supposed to. I’d never have a client around if the image would keep changing multiple times when making, then fixing, a single correction.