[Tim Kolb]

I don’t have an answer as I just had to get on the phone to re-activate my complete video collection as my laptop died and couldn’t de-activate.

You have two activations without a deactivation apparently, then the system locks you out. The one time I tried to do a de-activation, it hung trying to get something from the web. Very annoying.

I’m not sure what the answer is, but I feel your pain. Bottom line is that you have a serial# and you shouldn’t feel like a thief…but if you need to talk to Adobe again by phone, it may not be a bad idea to mention this difficulty.

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]

Thanks Kim,

The second suggestion did exactly what I needed. I appreciate the help.

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]

If Mono is critical, you could create a mono submix and send the sound through that before going out.

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]

[Nick Griffin] “Well. At least this thread is getting down to the real purpose of the Biz Cow .. hosts jabbing at each other.”

“Neat and tidy” was not a jab…I just noticed that I might look a tad scruffy next to some of my fellow hosts. The Foster Brooks school of grooming and etiquette made me the man I am (hick) today.

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]

There isn’t any way to my knowledge to do this inside PPro.

It would have to sense sufficient pixel changes to signify a camera roll stop/start…but if you’re doing a million takes of a talking head on-camera person, the pixel changes may not be significant…

I’ve never used Scenalyzer myself so I don’t know how it actually “senses” the scene changes. It may very well work this way though as I know a very common workflow with Scenalyzer is to capture an entire tape and break it afterward.

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’ve read your post and have taken some time to formulate an answer…it’s not a straightforward question.

Keep in mind if you’re at all worth your salt, you’ve been improving the entire time you’ve been in the business and the “if I knew then what I know now” thing affects your past work. I look back at some of the stuff I did 20 years ago as a rank beginner in the industry and marvel that someone actually paid for it. Absolutely unbearable to watch.

So much of what we use as evaluation standards against our own work in this industry is based on comparisons to other work that we see as something we can aspire too. The catch is we all appreciate different techniques so there isn’t one standard. We don’t all aspire to create the same kind of work. Therefore there really isn’t a “manual”…thank goodness because I’d be getting out of the business if we were all producing work indistinguishable from each other.

We each build our own version of a mass of expertise and sensitivities. Many editors have a sort of procedural pattern that serves them well, but tend to edit by feel to the greatest extent myself…each to his own I suppose.

The bottom line is that you need to think in terms of the audience receiving the message in the best way possible.

Good luck on your quest. It’s the same one we’re all on…make the next project better than the last one…take pride in the work we create.

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]

[Franklin McMahon] “Glad to be here and yes, I am willing to grow a beard if need be.”

Ahh…it’s OK. We’ve already got Tim A. and Ron up there looking neat and tidy…we draw the line at mullets here, however.

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]

It’s far more difficult for a computer to look at a raster of pixels and determine what things need diffusing…it becomes a pretty tedious manual setup.

Various types of optical diffusion (camera filters like the ones you mention) have varying effect on objects that vary in focal distance, fine texture, or exposure level. For example…Black Pro Mist can remove facial skin “ruddyness” if you will, but leave high contrast edges (specular highlights or an object’s hard edge) relatively sharp. It takes a lot of computing power for a software program to figure out whether a fine detail is a skin blemish or a specular reflection on an eyeball…and even with an application that can do it, I’m still not sure I’d trust it to be automatic…

Bottom line is that an in-camera effect takes the time to put the filter in the matte box, doing it in post requires a LOT of work and most likely rendering with the current technology…

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]

Nice to see you Franklin, good to have you here…

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]

New workflow.

Matte needs to be on it’s own sequence to be animated, then nest the sequence as the matte. Not my favorite workflow change in the software, but that’s the situation.

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