[Tim Kolb]

Your old Mac either had an I/O device like Walter is referring to to actually output interlace…

Computers all display progressive without some sort of a conversion device.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

After Effects shatter effect is probably the easiest way to do this quickly that I can think of…

Do you have a colleague who could do it for you? If they had the source clips, you could probably do it in about 5 minutes…the last 3 would be spent messing around with variations…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Can you tell us your sequence settings and the media specs?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

The way you’re approaching this won’t accomplish what you want.

In the same way a clip in the bin can’t show you the scaling you applied to the clip in a specific sequence, a sequence used as a source clip does not carry effects applied to it in another sequence.

To get what you want, you’d need to apply the color correction to the source sequence (or just put the clips on the sequence and skip the extra steps…)

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I’ll have to revisit it then…

It’s doubtful I was confused with FCP as I really never used FCP for anything complex…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Maybe the behavior has evolved and the layer names are what the importer looks at, but I stopped using layered PSDs to store multiple titles because it seemed that the introduction of a new layer somewhere in the stack would displace other layers…and when the doc updated in PPro, the content would now be off by a layer up or down, etc…seemingly displaced by the layer added (or in rare cases, deleted).

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

CS4 won’t actually use CUDA…that’s a CS5 (64 bit) and later feature. You can go with a pretty modest card and you won’t be depriving yourself of any processing power in Premiere Pro CS4.

I would guess you could pick up last year’s basic GeForce card(more power efficient than a older used…) NiB for under a hundred bucks, and you’d be fine.

You’re basically looking for a little bit of OpenGL support and the ability to light up the display.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Well…if I make a PSD that has black at 16 and white at 235, I see the black level dip at the blurred edge (but the black level maps high on that document anyway)…if I use a 0-255 document, then I don’t see the issue, and it maps correctly on the scopes. The behavior seems consistent for both CS6 and CC on Windows…with or without rendering a preview.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Alex…do you import each text layer as a separate asset?

What do you do to ensure you can add/insert a layer without changing the imported files?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Have you created 8 bit graphics in the past with black at 0 and white at 255 without any issues?

Typically I still stick with the old safety values of black at 16 and white at 235.

If white is set at 255, I assume it’s maxed out too?

I have no idea why you wouldn’t see the problem before rendering…I would have thought they’d be evident all the time.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor