Tim Kolb
Forum Replies Created
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[Brett Nelson] “Painful but true. I’ll cop to the last one in particular. Large and portable hard drives make file management an even bigger problem than in the past. It’s very easy to hurry and create a temp folder or let something render to a scratch disk and then spend a lot of time hunting it down. A good April Fool’s Day resolution for me…review and write down my media workflow procedure.”
Hey…I didn’t disqualify myself from being one of the guys committing the offense…I’m not the guy to put anyone “in their place” around here.
It just felt like good food for thought for all of us…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Dave Friend] “I also found what I consider a bug. The situation is this; on location only one channel of audio (the talent
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OK…I think I see where you’re coming from, but I guess my take would be to use strictly split mono anyway… I’m not sure why any sound designer would even want to mess with mixed stereo tracks…it makes separating the tracks in Premiere Pro look like a walk in the park in comparison.
I think logistically, because of the huge impact that procedure would make on the entire timeline (adding tracks, etc), it’s unlikely you’ll be able to split audio of a clip on the timeline and preserve AV linking when switching from one track to two new tracks when those tracks will most likely have to appear in the timeline window and there may be stereo effects already on the clips, which would have to be jettisoned or replaced…etc, etc, etc.
I think we’ve all gotten to the point where we expect our editing application to compensate for everything including poorly lit scenes, shaky shots, bad audio, and worst of all, a lack of planning.
Most projects going forward (and quite frankly most projects past)need to have a logistic meeting of the minds beforehand with the workflow worked out… The audio guy knows what’s coming and has made his/her requests for file types and structure ahead of time…the shooter knows if the project will be 4:3, 16:9, HD or whatever…EVERYBODY knows if TC is non-drop or drop-frame (here in the states)…framerate, etc, etc.
When I started with NLEs, we had Media 100s and Pro Tools in the house. There was a list of files you could count on two fingers that those two systems would exchange and 48k vs 44.1k along with all the other minutiae had to be considered and compensated for…and for GFX, a 640×480 .pict was it. Nothing else Photoshop created would work at all.
Premiere Pro is one of the most flexible video editing applications there are out there and while it may have its foibles, it still can save your skin in a lot of situations, but it can’t plan your workflow for you.
I don’t mean to sound harsh, but I don’t know of an app that can do what you describe…(maybe *Edit could…I’ve never used *Edit, but every time something comes up that PPro doesn’t do, someone chimes in that *Edit did that…).
Selecting all the clips in the project window and selecting the track remap is so quick, I honestly don’t see how it could be much of an impediment to simply start the project in the manner that will work best throughout the process and have less headaches…
If I’m missing something, please explain more…I’ve missed things before.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Mike Cohen] “Looking at it from a Media 100 perspective, for example, you capture a clip which has say lav on ch.1 and shotgun on ch.2 – you can adjust the tracks together or independently without extra steps of unlinking and duplicating tracks. You drag a stereo clip to the timeline, and channel 1 audio goes to audio track 1, 2 goes to 2, or whatever you tell it to map them to, as opposed to one steroe track of a clip occupying just one stereo track on the timeline.
It is a bit clunky, but that fill left/fill right effect is a lifesaver. You can set one clip and then copy and paste attributes to many clips simultaneously.”Hmmm…I think I may have given the wrong impression. I have no problem understanding why we would want the two camera audio tracks on two separate channels…I’ve been wanting the same thing for a long time (and lobbying for it), it makes sense.
What I was wondering about was what sort of workflow you’d have that you end up needing to drop a stereo clip onto the timeline in stereo…and then at some later point, make two mono tracks from it on the timeline.
Brett’s assertion that the feature doesn’t serve him well because he can’t batch remap stereo audio to mono tracks on the timeline has me wondering in what sort of workfow one would need to make the remap decision after all the media is laid down on a timeline.
…necessitating the creation of two new audio tracks (as neither mono clip can stay on the stereo track), the only option being to risk overwriting mono audio that may already exist on mono tracks, or to do some automated version of the “duplicate audio clip, fill right/fill left” procedure which would only create one additional stereo audio track.
My question just pertains to why an editor could not just simply remap the audio in the project window on all the media and go with it. I’m sure there is a logical answer to the question…I just don’t know what it is…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Well…I’ll check it when I have the chance, but since trying to remap audio destinations when a clip is on a sequence has to either overwrite an audio clip on another track or create an additional audio track. I’m guessing that isn’t in there.
What sort of workflow do you have that you are trying to remap audio on the timeline?
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Ron Shook] “[Brett Nelson] “You can now split tracks as you would like, but you have to do it in the Project window on a clip by clip basis.”
I know that this statement isn’t accurate. There is a way to split multiple selected clips (that share the same audio properties) simultaneously in the bin. I don’t remember just what the procedure is, but someone should chime in.”
Just select the clip(s) and go to Clip>Audio Options>Source channel mappings and change “stereo” to “mono” by clicking the button…the two tracks now go to two mono audio tracks. No clip by clip basis…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
You can split the audio tracks in PPro 2.0, but you can make it work without aditional software in PPro v1 by selecting only the audio portion of the clip on the timeline (alt-click on the audio) and copy/pasting it underneath the original. Then apply the stereo audio effects “Fill Right” to one clip and “Fill Left” to the other. You will then have two channels with independent control, even in PPro v1.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Carl] “After effects 7.0 and (PPro 2.0) supports Geforce (7800 and even 6800) videocards, even in high fidelity mode:”
Well, keep in mind that the Matrox Parhelia “supports” After Effects on that chart too because of it’s WYSIWYG overlay feature, but obviously not the same GFX acceleration. I’m imagining that “support” probably means different things in terms of GeForce cards and Quadro cards as well.
I’m not trying to say that they’re no good at all certainly…the question was what the differences are. Some of these differences may not be important to every user…but some are more significant than it might seem at first glance.
PNY’s position is that the Quadro family of cards has certain features/options available that aren’t available in a GeForce card.
Hardware anti-aliased lines
Hardware stippled lines
Hardware Open GL overlay (video window, not just preview render)
8 Clip Planes
16x Max scene anti-aliasing (GeForce=8x)
Hardware 3d window clipping
Hardware 2 sided lighting
QUXGA display res (3840×2400)
Dual-link DVI
Framesync and/or Genlock
…and a bunch of other things that are very 3d oriented and therefore not something I’m terribly knowledgeable about.Again, I’m not saying the GeForce cards are no good, however I think that people assume that they’re somehow “beating the system” with a GeForce card instead of a Quadro, and that’s really not the case.
…that’s really my only point.
I’m certainly not criticizing anyone’s choices or saying they’re not being truthful if they have a Geforce card and are experiencing benefits…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[StephenB] ”
Will a second video card even fit in with the FX 3450? Seems like that card is thick and may take up 2 slots. Please let me know whether or not this is true?”That IS a good point…these don’t just drop into any and every machine.
I have enough space to get it all in my computer cabinet, but I have a rather large workstation chassis with 2 PCIe slots. The Matrox Parhelia APVe does give you three heads on one card…but not the same boost in performance.
…its all in what makes the most sense for your situation.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Steve Freebairn] “My interpretation originally was that the quadro helped mainly in 3d apps because of tool windows and such that would overlap the main “comp” window, but since AE 7.0 doesn’t really have overlapping windows, will a quadro help? Can you enlighten me?”
It does/did help with that…keep in mind that multiple open apps is still overlapping windows…but the GPU accelerated preview and render (which speeds most of the “organic” effects like blurs and lighting, which happen in Premiere Pro and AE) are definitely pluses.
nVidia’s official word on it is here:
https://www.nvidia.com/object/IO_28867.htmlTimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net