Tim Kolb
Forum Replies Created
-
I’m curious to see if Tiger helps the Mac’s speed standings.
AE not only runs faster on a PC, it runs faster on a 32 bit Xeon vs a 64 bit G5, which I have to believe is just poor processor management.
There is something to the notion that Adobe has changed it’s development platform in at least the video segment to PC and the Mac versions are largely ported applications…I guess AE is the only video app left on Mac…Photoshop is counted primarily as a print tool.
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 -
Now that is a goofy problem…and no doubt frustrating.
Since I haven’t seen behavior like this often…or at all, myself…what’s your configuration? Are you running the display card at the upper end of its resolution capabilities? Any weird blankers on your system? Has PPro ever worked without this glitch? If it did, is it possible for you to track what changed on the computer around the time you noticed this?
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 -
[Video Opp] “One year is too long to go with out an update or patch. Sorry Adobe. “
It’s interesting that you obviously have no clue what that update will include, yet you have predetermined the period of time it should take Adobe to come out with the next version.
I think your point on Edius is relevant, but your assessment on Adobe’s turn time with an update is baseless. Premiere 4.2 and Photoshop 3.0 were current in 1994 or 95…obviously there have been far fewer updates than one per year…even including any patches.
Have you reported your issues at Adobe.com? There is a bug reporting procedure there for users.
Longer length program-related bugs can be difficult to uncover in a beta period as they are hard projects to risk on beta software for any user. If users don’t actually report bugs…Adobe can’t fix them.
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 -
Prospect is 10 bit, up to 1920×1080…Aspect is 8 bit with a maximum frame size of 1440×1080. Prospect is being upgraded to an SD/HD system and that is why you see the frame sizes listed.
Aspect OR Prospect can use an Nvidia FX540 card to take an external overlay to an analog component HD monitor as far as I know.
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 -
[buho] “Tim, I think you’re spot on. My track matte is 640×480, but the source is larger. Is there any way to UNLINK this relationship? It’s not intuitive why it’s linked in the first place.”
It’s sort of a matter of philosophy. Before if you wanted the matte and the key source to move in unison, you had to copy/paste the motion settings…which is extra steps if that’s the task at hand. You want to move the track matte separate of the key source, so the current system seems like extra steps. I think it’s all in what you’re used to…
The track matte needs to move on another sequence, then use the sequence as the matte. That’s the workflow model now. If your matte is moving differently on every shot, I suppose this seems like extra work, but the person who needs several repeating moves would love it as you just keep dropping the sequence in…
On the disabled track thing…what I DO like is that now the matte can be on any track so I can move my mattes to a very high track and simply work with footage below. With the track disabled, if the video track below it doesn’t have the track matte key applied, I can leave the matte up there and it doesn’t bother anything.
…as I said, it’s sort of a matter of what you’re doing at the moment as to whether the programmers were geniuses or goats…I have days when I have both viewpoints…
🙂
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 -
I can’t seem to make your link work…
In PPro, your track matte will take on the scaling and position attributes of your key source (whatever you do to track 2 gets done to the matte on v3). It sounds like this may be a part of the issue.
Can you describe what settings you’re using in the track matte keyer please?
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 -
You sound like a former *Edit user…
Unfortunately, the best method would be to click, then shift-click on a group of clips and copy/paste, or simply drag a “marqueeish” box around the clips you need an copy/paste.
The defining a range with in and out thing isn’t in PPro I’m afraid.
Sorry.
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 -
I think the one thing you will be able to count on forever in the production software market is that a new version is just around the corner…the Video Collection is no exception.
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 -
[Steven L. Gotz] “But as far as I can tell, Procoder just isn’t in my immediate future.”
That’s legitimate…it’s an option in a pretty large group of options across a large cross section of price ranges.
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 -
[Steven L. Gotz] “A year old? Is it still valid? Are these the current versions of each software?”
No, they aren’t. But I suspect the results are far from useless. Unfortunately Main Concept’s encoder wasn’t included in the test so the original question doesn’t receive any additional answers.
They test results seemed fair as far as what I know about these different solutions. I think having some experience with compression and understanding what your compression tool does well and using that knowledge to achieve the best result is as important as the compression tool itself.
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