[Tim Kolb]

[colourblind] “There is a switch called SPLIT SCREEN PREVIEW or something. What really amused me was the fact that, when hitting render, Premiere graciously renders just half of the image. Neat. Now, if I hit render in most of the cases I want a final render, not a split screen one. Second. When rendering, Premiere also has a fancy for rendering not only SPLIT SCREEN but it also renders the small triangles that mark the splitter line.”

LMAO…that would be a glitch wouldn’t it? I guess I never left the corrector with the split screen turned on so I never ran into it…

As far as workflow goes…I personally find it interesting that Premiere Pro can be as keyboard-based as you want…but Avid can’t really utilize a mouse if you would like to…

🙂

If you go through and learn the keyboard commands, I suspect you’d be shocked at how little you need the mouse…when somone first sits down in front of an Avid, how would they know where the function keys are without a map or the manual?

Why do we make an Avid user responsible to get training and take classes to learn how to operate the machine to be considered a proficient editor, but somehow Premiere Pro is supposed to deliver all that functionality yet somehow Premiere Pro is defective because a user can’t simply sit down and somehow instinctively operate it without ever cracking a manual?

That’s just absurd…

Go over and crank about the Avid on the Cow’s Avid forum with a “this software doesn’t work the way I want it to so it stinks” sort of issue and see what sort of response you get…

(BTW…on media management, it’s better than it’s ever been, but it’s still not Avid…but then on media management, nothing is…it continues to improve.)

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’m curious as to what the glitch in the color corrector is…

I find it interesting when people have very little experience with something, they make sweeping evaluations…but the main complaint usually comes out as “Product X is completely defective because Product Y does this and this and this and Product X does it differently…”

I’ve edited with Producers in the room who are used to editing with Avid editors and they make the comment that PPro is “…so much faster.”

Is PPro faster? Not really…Avid isn’t faster either. The editor and their experience and comfort with the software is the key.

Making subclips in PPro makes workflow sense when you understand what the operating principles of the software are…

I’m not sure if you refer to trimming source slips or edit points when you reference it…I find it much quicker to use the N/B and Y/U keys to key in the ripple/roll or slip/slide tools and trim edit points right on the timeline with the quad view that comes up in the overlay.

As adults, we all adapt to new things slower than we did when we were younger…this doesn’t mean that all changes are bad. I find the use of the word “Neanderthal” in your subject line sort of interesting…this post in the PPro forum without that word in the subject line would have garnered you some help I would think. Even with it, there are certainly more “in the know” Premiere Pro users there.

I understand the desire to vent, but ultimately getting assistance fixes your problem…

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, there are a variety of circumstances here.

The timeline was definitely a factor…in the beginning. The main defects present on the customer end are the audio sync and the runnability of the discs.

I don’t understand the layer break point…did you send the DLT without a specified layer break point? Did the replication house use a different layer break point than you specified?

Apparently a person needs to familiar with the material to see a 3 frame sync drift? If someone is talking and their lips don’t line up, you can make a case that the customer should have proofed it, but anyone on the outside looking in might ask if you had eyes, why you didn’t spot it yourself. 3 frames is pretty visually obvious.

I have a feeling I know what kind of client this is…and I suspect they probably drive everyone they work with nuts. However, the issues with the DVD are workmanship-based and the client’s deadline violation or lack of proofing has little to do with the issue if timely delivery or the content isn’t the dispute, even if it was the original cause of your changing methods of attacking the task.

If there was no contract that said that the client declining a proof step releases you from ANY liability (and the runnability of the discs STILL wouldn’t be covered as there is no way to judge that until the replication run shows up at the door…), I don’t think that would help you much either.

I suspect the warnings you gave the client regarding deadlines were on the order of “I can make your deadline if you make mine.” Unless you also warned your client that if they did not get you the material by the deadline, the workmanship and runnability of the resulting DVDs would not be your responsibility…I think you’re basically stuck.

The only slight possibility here is that the replication house may hold some liability in the runnability of the discs…perhaps they might be willing to give you a discoun t on the replacement run?

I have no first hand experience with Australian business law, but it doesn’t sound promising…sorry about that.

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 used ADVC-100s with our laptops with absolutely no problem. I have no experience with ADVC-110s.

For our in-house stuff we use a Convergent Design SD Connect, or when we don’t need SDI or R@422 machine control, a Canopus ADVC-500.

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]

[bayu prihantoro f] “[TimK} The software has absolutely nothing to do with how the “editing” looks. If there is some issue with image quality, that may have something to do with your equipment or software, or if the images look bad you may have a videographer that doesn’t understand how to create quality images, but FCP won’t help your editing technique any more than Premiere will…

…it’s like me buying a restaurant-quality stove and wondering why I still can’t cook…

i think that’s a good and “renaissance-ing” paragraph.

thank’s, tim.
i’ll print and stick it on my monitor. so i can remember it everytime.”

Don’t get me wrong… I’m not saying to give it up. I’m just saying that you can’t buy the skills of an editor in a box of software. You need some training, some experience, and a lot of observation of projects that you appreciate. Simply examining material that is well edited while noting even subtle details about each cut can reveal a lot…but to understand the thought behind it, you still need some type of training…classes, books, seminars, everything helps.

…then use whatever software you want…

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]

[Derek Antonio Serra] “I see the original poster has not bothered to respond. Maybe he’s just a FCP fan who’s stirring here in the PP forum. If anybody needs assurances that software does not maketh the man (or woman) just think back to the days when there was no editing software and we edited on linear systems, or on flatbeds. Give a real editor a box of well-shot tapes and two Betacam video machines and you’ll get a “professional looking” edited programme at the end, albeit with no effects and titles! Give the same editor a box of absolute crappy footage and any modern NLE software available for $ 50 up, and you’ll get an effects-laden MTV-style work of art. A bad editor would achieve neither result”

Yeah…what Derek said.

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]

Seems pretty odd, particularly on a proven machine.

Have you tried an uninstall/reinstall of Premiere Pro?

…or maybe even a quick repair installation?

I know it’s pretty chicken soup-ish, but it may correct it.

The only other thing I can think of is to attempt to unplug and re-seat the FW card. I recently had a rash of just odd FireWire behavior on one of my machines recently…the FW card was not screwed down quite tight enough and the repeated plug/unplug cycles we go through apparently slightly unseated the card, but not enough to fail all the time. Annoying.

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]

[mctiller] “The term “professional video” needs a clear definition”

I guess that when the original post said “edited by a professional editor”, it kind of leads us down the road of post technique…

Inadequate footage is one thing, but it seemed to be a comparison of editing software…and while different NLE software has different peculiarities and workflow issues, the final product that a viewer sees is still basically the result of the editor…

…it would be nice to have more information on what the poster is refering to, 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]

[Bill Buchanan] “It should come as no surprise to any of us, when an editing app sooner or later appears that will handle ALL the decisions required in the creative editing process. In addition to choices related to the juxtaposition of shots and their lengths, it will determine the appropriate pace of the project.”

He, he…yep. The same piece of software could edit “Titanic” in the morning and “The Blair Witch Project” in the afternoon. Obviously editing is a consistent, repeatable style across all projects and directors…easy to teach a computer to do it as the decisions are all standard, the color correction goals are common, “fast” pacing and “slow” pacing means the same thing to everybody and even subtle actor’s facial expressions and voice inflection are obviously translatable into ones and zeros…

…like running a spreadsheet.

(Now I need to clean up the milk that came out of my nose when I burst out laughing reading your post Bill…he, he…)

On a serious note, I take your point that some marketing messages seem to indicate that results are tool-based, but I think the intended message is the power of the tools each piece of software puts at the user’s disposal.

I think that to a point, the impression that people seem to have that the tools do the work is a combination of a lack of knowledge of the craft and some rationalizing based on the relative affordability and availability of high quality hardware and software.

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]

[bayu prihantoro f] “i have serious and permanent problem about control the quality of the final video. i’ve been using adobe premiere for all of my postprod. process. but, i’ve never been met any satisfying result. the final video never look like a video edited by profesional editor. i don’t know where the problems are. my assumption: those were caused by the quality of the editing-software itself. maybe adobe premiere (i’m using premiere 6.5) can’t produce a profesional-look final video. isn’t true?
i’ve ever watched a final video produced by final cut pro. it’s so profesional-look video. can i produce the same quality like final cut pro final video with premiere? or i should change my editing-software?thanks.”

Without trying to be derogatory…if it doesn’t look like a professional editor edited it…I think the editor would be the bulk of the problem, no?

I’ve seen plenty of garbage created with FCP, Avid, you name it. The software has absolutely nothing to do with how the “editing” looks. If there is some issue with image quality, that may have something to do with your equipment or software, or if the images look bad you may have a videographer that doesn’t understand how to create quality images, but FCP won’t help your editing technique any more than Premiere will…

…it’s like me buying a restaurant-quality stove and wondering why I still can’t cook…

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