Tim Kolb
Forum Replies Created
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If you got a hold of an application that could handle HDV natively on the PC (Ulead or Pinnacle), and sorted your footage, you’d end up doing some MPEG re-compression anyway as the GOPs would have to re-order and that would require a new compression pass…and a lossy one at that.
PPro takes the footage and converts it fairly gently…you will probably end up with less loss than editing it native, but each circumstance is a little different.
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 -
Try selecting a few workspace presets and see if it snaps into shape for you.
or:
The percentages are greyed out, but can you scale the window with the bottom right corner of the window?
If you can…rearrange your workspace and save it and see if it holds.
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 -
[Dex Craig] “I had a copy of PPro 1 and an AMD Athalon. I was unable to run PPro; when I tried to start it up, it told me something like “this computer will not run Premiere Pro. You need to have an Intel Pentium 4 chip.””
The Athlon processor needs to be an MP or XP (because of the SSE instruction set as Blast1 mentions…)
My twin 1200s were obviously “MPs” but that was probably as puny a processor as I’d run PPro on and attempt to get anything done… I would think Tree’s (Trees’? Trees’s?) Athlon XP 3200 should run it comfortably…it won’t be a dual Xeon, but I don’t see why it wouldn’t work almost if not equally as well as my 3.2 P4 lapstation does.
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 -
[Charlie King] “Not enough information.
How long is the video. What is involved with audio, is it a narrative track? Sound bites? Is there a script already written you can look over? Was video shot to the script, or was it run and gun shooting? How many dubs will be needed at the end? What kind of music needed and is it licensed? What kind of graphics and are you responsible for creating them?And that is just a sample of the questions needing answers, not all of them”
Absolutely. They need a ten minute show…how much footage is there? an hour?…ten hours? Has the client logged what was a good “take?” If you haven’t been involved with the production before this, how will you know when the person on camera used the proper technique?
Is is narration or sound bytes or both? How good was the mic placement if there was on-camera…are you fixing audio then? Can it be fixed to the client’s satisfaction?
I think overall you may be shooting in the dark on this one anyway if you’re a short-form AE guy, there’s no long-form editing track record. You’ll be making workflow efficiency discoveries once you’re in the middle of it. In the end the biggest unknown is probably going to be you…
I might get something that seems practical to both sides down and log your time for the next similar opportunity that comes your way.
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 -
Well, buying the full, current versions of all those programs would set you back mosre than the 200 dollars…
PPro isn’t really “bad”… I can’t recall crashing it for any specific or recurring reason other than running it with a Canopus Storm card. My laptop would slow down if I got PPro and AE and Photoshop all open and running…but that would be expected.
PPro v1 doesn’t have the project manager which would help you trim the media in your projects down for archiving. There are a couple of other features implemented in v1.5 like bezier keyframes for Effect Control events and audio levels…
Otherwise, we still have a couple of stations running PPro v1. Nothing wrong with it. Your Athlon wouldn’t be the baddest system on the block with PPro, but I don’t see any reason why you wouldn’t be able to run. We ran it on a dual Athlon 1200 system with 512K and it ran…not impressively fast, but no inherent problems…
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 -
[Dylan O’Leary] “Thanks. Any info on how “HVD scaled down to a SD image” will look once projected on a wide screen theater? I’ve seen what happens to my Sony VX2000 3-chip and it isn’t bad (our first movie, “This Darkness”) but the Canon ZR100s we’re using on this film are cheap and, I’m afraid, will disintegrate on the big silverscreen. And leads?”
Well the key here is how DV and HDV will look relative to each other. The fact that you used some entry-level Canon cameras for your DV stuff and are now intending to mix it with HDV probably doesn’t help, but the basic thing is the consistency. Scaling HDV down will make a far more similar image to DV than DV would to HDV if scaled up…period.
As far as how the down-scaled HDV will look…I would suspect at least as good as (probably a bit better than)your VX2000, I’m more concerned about how the two types of footage will look next to each other.
The other problem is aspect ratio…if I understand you correctly, you shot DV at 4:3 and HDV at 16:9. If your intent was to use this as wide screen, you didn’t do yourself any favors by shooting 4:3.
If you choose to use a 16:9 DV timeline, the HDV will scale down fine, but if you also choose to expand your 4:3 DV footage to 16:9, all the SD shots will be distorted…while the HDV originated material will not. Using a 4:3 DV timeline would allow you to use the DV material undistorted and crop the HDV, but you have this large theatrical screen to fill apparently…
This is kind of a dilemma. I don’t have an easy answer. Mixing SD and HD can work in certain situations, but theatrical presentation wouldn’t be one that immediately comes to mind.
Is there a general difference somehow in the use of each type of footage (all dialogue/actors were shot in DV, landscapes and beauty shots in HDV…or vice-versa…or?).
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 -
[Dylan O’Leary] “The SD doesn
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You have upgraded to PPro 1.5.1, correct?
Tthis is the version that will handle HDV without the Aspect plugin (though you still may want it for speed.)
I’ve used the camera with PPro 1.5.1 and Aspect and haven’t had any issues. (not that that is helpful for you…just letting you know it’s possible).
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 -
Pro editors are not pro colorists…I get the point.
I suppose it depends on your budget, but to my mind HD is more critical for this sort of polish than SD. There is just so much more to look at…
I do think that some days there seems to be an awful lot of unnecessary “mystery” around color correction, but there is no doubt that a talented and motivated colorist can easily pay for themselves on high profile projects.
…I might also factor in just how much “help” the material needs. Maybe there are segments that need a pro and others that don’t. The danger here is inconsistency of course, but you’ll have to decide what’s appropriate for the project.
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 -
Well…I can’t change mine fast enough. No matter what people always tell me that “You’re considerably more gray than your picture…” At the rate that’s going, Kathlyn and Ron would have to changing my pic once a week.
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