Tim Kolb
Forum Replies Created
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You can choose any codec you have on the system for export…if you are exporting DV, technically the file structure is really just Microsoft DV. Internally, PPro uses the Main Concept DV codec for better quality processing.
TimK,
Kolb Productions,
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CineForm Aspect HD would enable you to run on the system you have with HDV.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Norman Frizzle] ”
Now if I am using “non-drop frame” mode (as I note is the sertting I have in Premiere Pro). do I not run the risk of accidentally situating the first or lest frame of a clip on a ‘phantom’ frame and thus crippling my renders by introducing debilitating calculations to conpensate for the clip being out-of-synch?”It shouldn’t, it’s strictly a numbering scheme and does nothing to speed, slow or otherwise affect renders…if it did, it would be some sort of an odd bug.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Norman Frizzle] “I understand the NTSC system.
Do I comprehend you correctly that the drop frame/non-drop frame distnction refers only to the timeline’s accounting for the NTSC system’s drop frame?
What advantages/disadvantages are there for the two?”
Now I’m unsure of your question…you say you understand the NTSC system.
Drop-frame TC is the basis of the NTSC frame rate.
Yes, it is only frame numbering. The advantage/disadvantage is that with drop-frame TC, when you reach the TC for one hour, it’s actually one hour into the show vs non-drop which would have you one hour, 3 seconds and 18 frames into the show at one hour of TC.
Many people who do 30 second spots run non-drop because the error is only 9/10 of a frame…but drop-frame is the standard for broadcasting for obvious reasons.
In corporate or event work, DF may be unecessary. Some users just find the idea of losing two frame numbers for 9 out of every 10 minutes odd, so they run non-drop.
Those are the principle advantages/disadvantages.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Kevin Christopher] “I have to come back and say this issue is definately fixxed. Is it? It was not one of their marquee “Hey we fixxed this” in their official list of improvements.”
If it was a marquee improvement, that would be admitting it was broken. I’m not at all sure it was totally the wrong idea, but I wasn’t a big fan of importing hours of no-brainer DV meeting footage into a DV project…and editing for DV output and having audio conform either…
It no longer conforms if the audio sample rate is 1:1, 1:2, or 2:3 the sample rate of the project setting. There is a peak file created that holds the data for quicker waveform redraws in those cases, but those are tiny files.
For most uses and users, it’s “fixed.”
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
This refers simply to frame numbering. (From your question, I assume you’re asking what drop-frame TC is…my apologies if I misunderstand your question.)
Due to a tedious-to-explain bit of NTSC history, the actual frame rate of American Television is just a bit below 30 frames per second.
However, one can’t number frames with the 30th being a 97% frame…they area all whole frames. Having 30 frame numbers a second, but running them slower creates a time deficit. 18 frames extra every ten minutes. The way that this is compensated for is that frame numbers 00:00:00:00 and 00:00:00:01 are “dropped” at the beginning of 9 of every ten minutes…this is drop-frame timecode.
It has little to do with encoding and shouldn’t affect speed or image quality at all.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Redgum] “I think Adobe simply lacks a good business plan and a clear line of deliniation between techheads and marketers. It won’t be the first or last company to suffer this problem. A recent example of this would be Canopus who were technically adept but hopeless in marketing. Grass Valley realised this and gobbled them up. Maybe Adobe will suffer the same fate, is Apple watching?”
I doubt Apple is large enough to seriously consider buying Adobe outright…and the two companies have not had much of a co-existence the last 3-4 years that would lead to a logical merger, particularly since such a large portion of Adobe’s income stems from PC software sales…something Apple has squashed with every software acquisition they’ve made, and I would think that an Apple acquisition of Adobe would make far less fiscal sense if they wouldn’t keep Adobe’s cash machine running at full capacity.
I think Adobe has a very good idea what is marketing and what is technology…and the marketing side usually wins. This talk of what PPro lacks in media management has been at least 50% based on an offline-online workflow from what I’ve been reading in this forum anyway. Adobe doesn’t recapture/proxy edit/edit in SD-recapture HD for conform…etc, etc, etc. While I’m not saying that’s illegitimate if that’s the workflow you need…many completely legitimate professionals don’t offline anymore. Even HD, with the affordability of harddrive space, just isn’t that expensive to store.
Avid is great with media management…inside the software, true. But I have sat in edit suites waiting for footage to be exported so it could be used in AE because the media files aren’t trackable in an Explorer or Desktop window. I have a friend who has to bounce out to ProTools to get precise lip syncing or remove a pop because his Avid doesn’t edit audio sub-frame (I don’t know if newer, bigger Avids do that now or not), Avid-branded media drives remain intensively expensive relative to going rates for harddrive space in general…
So, while Avid may be the model for many workflows, it isn’t for all workflows. It still drives like a CMX compared to Ppro, which acts more like computer software…which will be a selling point…until all of us who can even remember what a CMX was are dead…
Apple has a good product in FCP and there is no doubt that chasing Avid right into its backyard was the goal. They’ve done that well. FCP is not without its idiosyncracies either however…
Use what you need. If you need an Avid, cough up the cash, buy it, and start working with it. If you like FCP because you can’t afford Avid, or just want an upgraded interface…great, buy that dual G5 and rock and roll.
If PPro does what you need and you like the interface and like the integration with Adobe’s other products, I don’t think there’s any reason you should apologize. How many networks are using it? I don’t know. Since I’m not a network, I don’t care. Those of you who do work for networks…that would be a concern. (An individual from CBS did approach me at NAB last year who had some Premiere Pro stations he had questions about, but I didn’t get the impression the house ran on Adobe, no…)
The last I heard, the Discovery Channel, and any networks I knew of had requirements for tape format and signal specs, but I didn’t see anything about software used.
The rest of the media management issues are legit…re-linking still isn’t where I’d like it to be…shared network assets can’t be accessed by multiple users, etc. However, I would urge thos of you concerned about Adobe’s future to rest easy. No matter whether they make an editing tool that’s exactly what you need or how many high end users find PPro a “non-starter”…it sells and sells well. They’ll squeak by over in San Jose.
As I’ve said many times…there is no one workflow anymore. In the days where every single edit bay was manned by tape-to-tape trained editors and was transitioning from a tape-based model and harddrives cost 500-700 bucks per Gig, we were all using a similar workflow. These days, that just isn’t true.
If it doesn’t work for you…that’s legitimate. Proclaiming a company’s doom because they don’t make the product you personally want for your particular workflow…that’s probably a stretch.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
You would have to be editing uncompressed in Premiere Pro 2 with 10 bit preceisoon to be 10 bit. Aspect is 8 bit because HDV is 8 bit…and it’s fast and runs on smaller machines.
Yes, Prospect and Axio run 10 bit precision in HD.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Kevin Christopher] “All I know is that after we capture a movie whole, 2 hours sometimes. It will take 20-30 minutes for it to conform. My boss is screaming!!! We have the latest speedy HP xw9300”
Are you using Ppro v2?
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Kind of Apples and Oranges there…uh, make that Apples and Studebakers.
Vegas is a powerful program that shows just how elegantly an NLE program can be written. It does amazing things on relatively smallish systems…less real-time, but lots of things you can do.
The interface is the challenge, that’s for sure. I re-open it every now and then to marvel at what can be done and also puzzle at how one would go about doing some simple things.
Edius is also a great NLE program…I actually find Edius a little more challenging to learn in some respects.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net