[Tim Kolb]

That IS a healthy dose of weirdness…

I think I might attempt a software reinstall first if I were you. That’s just very odd.

About the time you WISHED you had a track back that you deleted…then those gremlins will be nowhere to be found…

…it figures.

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

[Tim Kolb]

[annabelle] “Can you just dub this out to a vcr? I have tried this and cannot get a signal out. I go through a capopus box so I can adjust audio on the fly through a mixer.”

I’m not sure I understand…Aspect won’t output via FW. However, the audio meters inside PPro and some decent reference monitors should tell you the truth…

Hopefully the audio mix will be done by the time you are downconverting to SD or DV or MPEG2/DVD or whatever…

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

[Tim Kolb]

Have you tried capturing the DV clip on the same system from another deck. These Sony decks are new and I’d be curious to see if the deck can be eliminated as a cause first off…

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

[Tim Kolb]

I use Aspect and have elected to export to 4×3 SD letterboxed for the effect a couple of times. If you’ve shot and protected for 4:3, you can export out of the Aspect project…then you would have to crop once you brought the 16:9 clip back in…

I actually use ProCoder and feed it the CFHD exported master clip and output and crop in one step, it works pretty well.

Be wary of exceptionally high contrast edges in the HD footage though. I usually have to back off on the luma levels and add a tiny blur to knock out the high frequency visual edges, otherwise I’ve seen some “ringing” in the SD output.

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

[Tim Kolb]

Really? …I think they’re creepy.

…anyway. Sorry. Couldn’t help myself.

I wonder if these are rotoscoped, at least to a degree. The lines are awfully solid and the tonal reduction seems a bit too perfect for any filter or plugin that I’m aware of…but I’m far from the most knowledgeable person I know on plugins, though I’d guess it’s more of an AE or combustion thing than something done in an NLE.

I’d be interested on hearing something from someone who knows as well. I’ve looked at these pretty hard for some telltale sign of how it was done.

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

[Tim Kolb]

This is also an excellent cautionary tale about interval billing…

Billing at the end leaves lots of openings for problems.

I would agree with what’s been said. You need to have them pay or erase the drives and only return what they own. I might also insist that it’s a cashier’s check under the circumstances…

Good luck with it.

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

[Tim Kolb]

Blast1′

Does the cam have some sort of “simulated” progressive that would output an interlaced stream of progressive frames?

I wonder if AE sees some flag put there by PPro on capture, or if because AE doesn’t work in real time, it can simply show you whatever you want, and PPro’s RT DV setting is interlaced…

George,

What happens if you watch the clip in Media Player? You know your interlaced video monitor can’t change it’s “stripes”, it has to show an interlaced version of whatever you’re feeding it. I wonder if the footage IS progressive (assuming that what you see in AE is correct) and your monitor is simply an interlaced display?

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

[Tim Kolb]

What did you shoot it with? Is it 30p or 25p…?

PPro should capture based on the project settings.

I’m not sure that DV can, by definition, be progressive and technically still be DV. BUT you can have interlaced footage that “images” as progressive. So basically, you see progressive, but the computer still sees interlace…

I’m trying to figure out just exactly just what you’re seeing.

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

[Tim Kolb]

I’d probably spring for the rental gear, BUT show it plainly on the invoice so there is a paper trail of your gesture…

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

[Tim Kolb]

In this business, I’m not sure if that strategy will ultimately pay off for you. We all consider ourselves to be unique in our skills and like nothing better than to be recognized that way (with awards, etc) and creating a single rate wage structure won’t recognize your achievers. At some point those acheivers will feel like they’re “carrying” the staff that they perceive to be “less skilled” or “less ambitious” oe “less…whatever” than they are and they’ll take off for greener, less “level” pastures.

I appreciate what you’re trying to do, but I’ve tried different takes on this in the past and it failed miserably.

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