[Tim Kolb]

I write the stuff down and enter it into Outlook and sync it with my cel phone.

We also have a company yahoo address where we all have a passwword for access and keep a joint calendar so we can keep the schedule from wherever we are…as well as keep projects logged in the notes section.

I used Palm Pilots for a bit…just didn’t last. I keep a little pocket calendar with me for old-school scheduling.

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]

[Martin Munthe] “My experience is that when I capture HDV on a fast machine I get good quality video. 1×1 “clone” of what my camera produces. And when I capture HDV on a slower machine I get strange behavior and quality loss. Sometimes very obvious and sometimes not as obvious.”

Hi Martin

Are we talking about capture through Premiere Pro (then converting to CineForm HD either via the 1.5.1 software itself or with the Aspect plugin…)?

What sorts of quality loss are you seeing? Are there typically lost frames reported on the slower machine…and what sort of machine are we talking about?

I would think there might be some issues with manipulating the stuff on a slower machine…but the artifacts you would see in playback might be from the machine just being overwhelmed, not necessarily the footage itself…

The CineForm codec hasn’t given me any surprises in AE (knock on wood) but I could see where an HDV MPEGTS file might…

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 have no experience with the Black Magic board…

The Canopus boxes, however, I use all the time. There really isn’y any “lag” per se that I’ve noticed. There will probably be a slight sync difference between the computer and the monitor so you may want to tap audio from the box as well if that’s important.

For AE use…it’s of course not realtime anyway…but my two ADVC 100s have served well in this capacity…and they can be used with a laptop.

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]

[Martin Munthe] “Until there’s a solution that actually just copys the HDV stream or blocks stream that are not 1×1 compared to the camera original I will loose a lot of sleep. As of now the solution rests solely on CPU interpretation. That means that if you have a slow system you’ll get crappy quality and if you have a fast system you’ll get good quality. And if you have a super fast system and you run into a sudden unexpected bottle neck – like in all super fast systems – something will probably happen to your footage at the point of the bottleneck. Which in turn means that all HDV data has to be monitored by the human eye and we have to hope that the stream is OK. Scary thought. I’d just like to transfer whats on my tapes as I would using DV. But that won’t happen in long GOP land.”

…I don’t follow this. What is “1×1 compared to the camera original”? Also, I’m not sure what you mean by a slow system producing crappy quality…a slow system will either take significant time to render, or if it’s too slow, just simply won’t do HDV editing at all depending on what solution you’re using…

“…if you have a super fast system and you run into a sudden unexpected bottle neck – like in all super fast systems – something will probably happen to your footage at the point of the bottleneck.” What does that mean? Have you worked with HDV? On what system? What “bottleneck” are you referring to? I assume from the word “probably” that this is mostly conjecture?

Sorry…I just don’t see a question…or knowledge based on experience to share in this post. Am I missing something?

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]

Unfortunately the only way I’ve found to handle this in PPro v1.5 is to select the clip in the Project Window, go to Clip>Audio Options>Breakout to Mono Clips.

This will break the Video+Stereo Audio file into three files,a video and two mono audio files. These need to be placed on the timeline and manually synced…if they’re untrimmed they could ‘snap’…and select them all, right click and select “Group.”

I’m NOT saying it’s a good way…I’m saying it’s the only way I’ve found. We do more than our share of “Fill Right” and “Fill Left” around here for sure.

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]

Well, it sounds like the parts that are working for you are working…I would leave it at that.

I might suggest that you buy the occasional book or attend the occasional seminar to introduce photographic and/or film-video lighting/exposure/field of focus issues into your skillset and keep growing what you know.

Use the gear you’ve got until you can make so much more money with some other piece of equipment that you can’t afford NOT to have it. It’s way too easy to sink your profits into expensive gear in this business…

Music…there are many sources of royalty free (NOT cost-free) music on the web and you could Google that. Simply pay by the song from the web, or order CDs of music from a library. Fair use is a myth. The only fair use is when you aren’t getting caught, which unfortunately happens all the time. I guess you have to make a choice on that one.

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]

Hmmm…

The file would be 32 bit at whatever the sample rate of your project is…so a DV project could have a 32 bit/48 Khz file.

Is there a way to specify in wavelab?

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]

[Steve Spaw] “This is just a few things that come to mind, I understand that many people here are hobbyists, but don’t speak about Pro issues just because they are not important to you. I am not trying to flame anyone here, but the tone of this thread bugged me.”

Actually there are one or two of us that have made a living, some might even say a name for ourselves in production, thank you.

However, I do feel your pain in the way of media management and subclip handling…though I’ve not had much problem with frame-accurate batch captures…but I always capture with handles I guess, so perhaps that’s why.

What I AM personally fed up with (and PPro isn’t alone here…) is the feeling that “product X doesn’t do what product Y does so it’s broken/f’d up/amateurish/unusable”…whatever.

I don’t think that PPro is ready for post house duty yet…it’s just a fact. We can ask these manufacturers for what we want, but if we don’t get it, we need to talk with our feet.

If the lack of keyframeable speed control is ruining your day, try Vegas…if media management is the key to your existence, Avid is the king in that regard. I’m hoping that PPro will improve on all these fronts, but anyone who thinks PPro v2 will come out looking like Edit/Avid/FCP all rolled up into one is kidding themselves.

I use PPro and it works well in our project studio, but I can see where a post house would have issues…big ones. Therefore, I don’t usually make that recommendation to a facility cutting serial television, etc. We have to start appreciating the fact that all these tools aren’t designed to be the answer for everyone (no matter what the brochure says…)

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]

[Aanarav Sareen] “I have worked on plenty of NLEs and by far I have found PPRO is the “fastest” editor. Not as cumbersome as Avid and not as expensive as FCP (including the costs and such of a new MAC)”

Well…the speed of the system depends on how well the operating metaphor models the editor’s way of thinking…and each person is different. Any NLE can be fast in the hands of a virtuoso operator.

…also conversely if you found the app that works for you…relearning something else and overhauling your editing style is painful. I do understand that portion of this whole discussion.

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]

[pablo] “Now I hear the anouncement that Adobe has released Photoshop elements 4 and Premiere elements 2. WTF are they doing to us – we are in desperate need of an upgrade for Premiere and it seems Adobe are releaseing new versions of everything they own EXCEPT Ppro2!!!

Are they deliberately trying to loose market share to the competition? Becasue I can tell you first hand they are and the exodus will continue with each day that passes with zero word on a much needed upgrade.”

Um…there hasn’t been a new release of any of the other pro video/audio products yet…I’d take a breath.

I understand the app isn’t what you’re looking for…but PPro has been doing nothing but gain pro marketshare since its inception, I suspect Adobe will pay the bills somehow.

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