[Tim Kolb]

[JulieB] “Sorry, Alex, for the scarcasm. I didn’t realize the Secret Service had anything to do with money.”

Since counterfeit is the primary concern here, the Secret Service would be the place. They handle all counterfeit investigations. We have a paper lab in our building that has clients occasionally pull up in plain sedans with government plates…

🙂

I doubt there would be a huge problem with filming (or certainly videotaping) money as the primary concern is whether or not the image can be used to create counterfeit mony. Of course, video and even to some extent, motion picture film won’t work very well for that. I know that scanning a bill in a flatbed and creating graphics can be a little dicey, though I think there’s something in the newer bills to mess up flatbed scanners…but I’ve never tried so I don’t know.

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]

Are you using a board like the DV Storm in your system?

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]

PPro was set to capture “no fields”?

Can you describe the project settings dialogue exactly? Are you viewing the footage on an external monitor? Routed through what?

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]

[Erik] “Thanks for the quick response Stove, how does a person arrive at the beginning of the last frame elegantly. I just figured it worked like everything else, you know, push the end key. Is it a two step process? Do you have any other quick tips for PPro? Something on the Cow would be great, like a “Things you didn’t know but should in PPro”. How does a person achieve “modes” like overlay or addition or multiply to composite tracks in PPro? I WANNA KNOW! Only if you know.”

PPro doesn’t have transfer modes like AE, but then many NLE packages don’t…even some “pro” applications.

My workaround for previewing the last keyframe thing is to hit “end” then hit the left arrow to tick back one frame.

There is a reason for this behavior. The keyframes in PPro are actually sub-frame placeable. The “end” of the clip isn’t technically until the “end” of the last frame…however the cursor views forward. Also, this allows previewing of the entire clip, including opacity fades out-completely.

I recognize that if you’re used to using something else, it can be a little frustrating, but there are some behaviors in PPro that have a sensible logic to them…it just may not be exactly the same logic as Avid…

v2 will be coming one of these days and I have a feeling at least a few of the various issues people have been bringing up will see some attention.

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]

[David Cherniack] “Did it require much energetic repetition or was it instantly understood?”

🙂

Oh, I think that certain people are in charge of listening and others are in charge of keeping software releases on schedule…

I think they HEAR most of this…I have a feeling that making some of the alterations are possibly more challenging than it seems to those of us who aren’t software engineers.

…I’m not making excuses for anyone here, but having spent some time with these guys, I can tell you that PPro software engineers are some pretty user-aware people. Time and resources are always the catch.

I hope they do get some traction over the next four quarters however as I’m sure Apple will have to dedicate some resources to porting to Intel…this would be a point where a full charge would be appropriate it seems to me.

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]

[bouke] “What i want is the way most programs work, have locked dual mono audio and video.

Is this possible with PP?
Workarounds?”

Hey Bouke,

Unfortunately two mono tracks on capture is not possible in PPro v1.5. Mike explained the procedure for splitting the thing apart already. I have found it easiest (though far from elegant) to simply dupe the audio track to make two stereo pairs, then use the Audio Effects “Fill Right” or “Fill Left” to get two independent tracks that occupy the full pan range. (You’ll have to link the manufactured track on the timeline.)

One caution. Fill Right means “Fill (left)with the Right channel”, not “Fill the right channel with the left”.

PPro is moving forward…very quickly in some areas and slower in others…

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]

[david cherniack] “I think the point is not whether it can be worked around, but whether it should have been that way in the first place. It would have been perfectly possible to have stereo tracks AND the option to bring them in as mono.”

I agree with this criticism…I do find there to be a lot of steps that would be eliminated if the clips would simply come in as dual mono. That’s the way they’re recorded…it’s not as if there’s a stereo track in the first place.

All I can say is…this has been heard…

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]

[David Cherniack] “PPro has some design shortcomings that prevent it from being adopted by the many if not most professional editors. That’s the point. Sentiments like “it works, I use it. I’m happy.” just encourage acceptance of some glaringly poor design choices and the snail’s pace of its evolution into a top of the line editor. It’s not that the potential isn’t there.”

So…what is your criteria for a “professional”? I’d like to achieve that status some day…

The pace of PPro’s evolution is actually fairly brisk, though the areas that you seem to be referring to do seem to get set aside…however, did you ever use Premiere 4x? How about 5x or 6? 6.5? PPro was a leap. A big one. Anyone who witnessed that process form the early stages can attest to the work Adobe had to put in to make that leap.

I agree with your remarks on the sentiments…but some of us neophyte and amateur editors who do use PPro get a little sick of the idea that no “professionals” use it.

Too many editors who criticize the application relegate it to “sub-professional” status-thereby relegating current users to the same. It’s not a great way to enlist the assistance of the existing PPro user community in your quest.

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]

[David Cherniack] “The “niggling little things in the workflow” as you put above it are more like gaping wide holes for most professionals. But above and beyond that there’s the cavalier attitude to point releases during the 18 month development cycle and the insistence on releasing updates to the entire video suite at the same time.”

The issues are “niggling” in the context of the engineering aspect of the software. I can’t see that a lot of them would be difficult to fix…but then I’m not an engineer.

Updating the suite all at once is sort of necessary as the cross-application functionality is developed. It’s hard to come out with the next Ppro hook in AE when the version of PPro that’s out doesn’t have the other end of it…suddenly you’re doing 10 “dot” releases of each piece of software, most of which are simply to add the backside of a connection to a feature in another application.

I’m not sure what demonstrates a “cavalier” attitude…

There is a way to go, no question. I do think that sometimes users see a certain outcome with these software companies and they assume some specific motivations. I don’t think that Adobe is cavalier necessarily, but they are coming from a different core group of users, so the existing priorities don’t evaporate to make way for the new ones…they just pile on.

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]

[R. Hewitt] “It’s frustrating when Adobe are so close to getting the product ‘just right’ in a professional sense when they don’t provide a genuine open channel of communication to those of us out here – feature request aside.”

Many of us here work with Adobe on development and rest assured, we note the issues and make sure they get to where they need to be…

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