Tim Kolb
Forum Replies Created
-
Is the footage DV to begin with…?
You can create another PPro project with the settings you want, then import the DV project into the new project and re-capture footage.
I would recommend creating a trimmed project from the finished DV project AND IMPORT THAT ONE into the new project to cut down the size of the media load you need to re-capture.
I suspect the ability to change project/capture/render settings were a tech support black hole on previous versions of Premiere, Adobe eliminated the capability to streamline the process.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
I find myself wishing I had the capabilities present in PPro’s titler inside Photoshop…
I think the titler is far faster if what you are looking for is creation of text-based titles.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Interesting.
As I said, I’ve never used a Decklink card, I only use a Xena, but I’ve never really tested this in depth. I’ll have to check it out to see if there’s anything odd with the Xena card similar to the Decklink.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
I guess no one else is going to touch this one…
My experience has been that most of the 10 bit solutions have a codec and a processing core that operates in 10 bit. CineForm’s Prospect has it’s own “engine” that effectively replaces PPro’s own, giving Prospect true 10 bit throughput. Prospect’s drawback is that it only has a certain number of transitions and effects. Regardless whether one user thinks they’re enough for most professional work, or another user wants 8 layers of PiP with beveled edges and thinks anything less is unacceptable…the fact is that PPro has more effects and transition choices than Prospect does. The problem is that when a user uses any PPro effects or transitions…that segment is processed in 10 bit.
HOWEVER…I have seen situations where even though the codec is 10 bit and the person isn’t doing anything but cutting and exporting back to the same codec, it drops to 8 bit. In almost 100% of these cases I have found that the project settings are not correct. These “replacement editing engines” that various manufacturers supply can only be engaged when the project settings are right. For instance the “Prospect HD” project settings switch on the CineForm engine.
I don’t have any experience wiith Decklink cards, but I might look into this possibility.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Tough one…
I’ve always kept my vans unmarked, but have been a bit envious when I see competitive production companies with traveling billboards.
I guess if I were to consider signing a van, I’d probably put some sort of secondary security system on it. I’m not in a metro area as a base, but I work in various metro areas in the midwest…there have been locations where I’ve been more than happy the van was not signed.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Edius works with an NX card or a dual head…my GoBoxx runs a video overlay out of the second port of the Radeon card…
Edius also performs FAR better when using an intermediate codec however…just like PPro (and you really owe it to yourself to at least download the full Aspect HD plugin on a trial just to see the rather huge difference between PPro 1.5.1 and the full package.)
Edius has an interface that takes some getting used to…but it isn’t without merit. I just find myself more comfortable with PPro. And I have both Aspect and Prospect for PPro…I personally think pretty highly of the CineForm products…for the record, Vegas works really well with Connect HD (another CineForm product)and its intermediate codec as well…
Avid is either using native, or is using DNxHD, and Apple is using native or Apple Intermediate Codec (MPEG I-frame only)…or sometimes DVC-ProHD…none of which really perform as well in the image quality department as the CineForm or Canopus intermediate codecs at this point…in my opinion anyway.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
My usual response is that it’s like buying a car by the foot.
…in which case, all of us could most likely afford a Porsche Carrera.
…etc, etc.
TimK,
Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net -
Make your crawl with white letters on a black background. (You may need to render/export it and bring it back as a clip.)
Use the crawl as the matte in a track matte key.
Take the video that you’re putting the thing over and place it on it’s own new sequence and use the scale tool in the effect control menu to “blow it up” a bit…then use that sequence as the key source for the crawl matte over the original video.
TimK,
Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net -
You can try here:
https://thepluginsite.com/resources/
Remember that the plugin structure has changed from Premiere to Premiere Pro so you would have the best chance of finding some compatible plugins for Premiere Pro in the AFTER EFFECTS category…NOT the Premiere category…
TimK,
Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net -
You may want to try deinterlacing the footage that isn’t fast or slo-mo…it might achieve a bit of what you’re looking for…some of that hyper-smoothness in the motion will go away.
TimK,
Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net