[Tim Kolb]

There are a lot of contests out there suddenly…

It used to be Clios, Emmys, Monitors…then Addys…now there are Viddys, Tellys, Communicators, Aurora, Daveys…the list goes on.

I don’t think that being a money-making venture necessarily makes a competition illegitimate.

I’ve judged Emmys and there is a very established method for that, but the regional competitions are not so huge and most NATAS chapters judge for other NATAS chapters. A competition like the Tellys (which I’ve also judged for…) is national so all entries have to be run through the system as a single, though long, process.

The Tellys have a less complicated method of scoring than Emmys but can be challenging because each judge has a much larger number of entries to judge.

Also, regional commercials are a pretty wide spread…I had ads for a single-lot car dealer with “Dealin Doug” in some small middle-America town to a very ethnic-focused Revlon commercial featuring Brandy and Tyra Banks designed for Detroit, still a single market, but certainly a spot created with far more resources than the car lot ad. Tough to score with a common scale.

We tend to focus on the competitions our clients recognize…Emmys, Addys (American Advertising Awards), Tellys, Chicago Film Festival Hugos…etc.

We avoid the competitions that have vague missions or frankly, hardware that we don’t want on the shelf. I find the Videographer Awards clapboard trophy particularly undignified myself (my own opinion, no flames please)…though I’m sure the competition is probably legit.

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]

Also, try starting Premiere Pro while holding down Ctl+Shift.

(I’m pretty sure that’s what the key combo is…if someone remembers beter than I do, please correct me)

This should dump the preferences file and PPro should go out and look for all the plugins, effects, etc, etc again and make itself a “fresh list” if you will.

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]

[jack halsey] ”
I could never get any of my 6.5 projects to open..it always said an unknown error had occurred…only very short projects say 5 minutes or less would open…any ideas? Thanks”

Actually Premiere Pro is designed to open projects that go as far back as Premiere v4…

I’m wondering if there was a project setting that went with a board or something that PPro doesn’t have access to? Anything else you can think of that changed? Any differences in how the different projects were laid out that you can think of?

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]

Feedback would be artificial, usually intensely unpleasant sound generated by an audio system’s microphones picking up the sound from the speakers and almost infinitely accelerating (as it now becomes a “loop” mic>speakers>mic>speakers) it to an excruciatingly high-pitched tone…

It seems your issue is related to delay in the “foldback”…or the speaker’s (reporter’s, singer’s) personal monitoring of the sound…

I’ve actually found it best to do a couple of tests so I can get a very good idea of where my voice should be, then I simply turn down the audio monitoring on the PC altogether while I’m doing the voiceover…there is simply too much circuitry for the sound data to pass through to eliminate the delay (which I think varies from system to system). And I know the delay is intensely distratcting, particularly for those of us who do very litle voiceover for a living.

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]

[Anand] “Are they Adobe Certified Experts and is one of Adobe’s products used in that movie ?”

Uh…no. But I can see where you might think that. The “A.C.E” you’re seeing pre-dates Adobe significantly.

“American Cinema Editors”

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]

[colourblind] ”
“Burnout can be caused from loving what you do too much.”

This might turn into a delicious philosophical debate. Anyway, until then, I for one don’t think that I experience a *creative* burnout, but just phisical exhaustion that is also taking its toll on the intelectual side. Technically, I still have ideas and can find solutions but with very reduced performance.”

It’s interesting that the people I know who are the most successful in my eyes are doing something that they’re good at, but they don’t “love” it. I do what I love 18 hours a day, and weekends…crazy hours…laptop runs at home on projects, etc.

I find when I’ve been working around the clock and I build up a sleep deficit that I become useless. Setting a limit seems a necessity.

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 understand the not feeling of the love…we’ve actually lost work to firms who were willing to use copyrighted material.

I’m still not interested in changing where it is we draw the line though….

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]

[Charlie King] “Premiere Pro doesn’t seem to act like anything I have worked with before, so it is going to be quite a learning curve.”

Hmmm. Interesting. Most seem to think it’s an open homage to FCP…

I think they’re all different, but then I suppose when you get a new car (or in my case, a different old one…), you just figure out where the wiper control is and drive…

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]

So…where is it you’re coming from Charlie? Avidland? Valley of Apple? Liquid Editionville? DPS Velo-City?

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]

You’ve happened on one of the most flagged feature gaps in PPro by former users of Discreet *Edit…

At this point I know of no way to do what you want without the uber-razor and multiple clip select as you pointed 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