Tim Kolb
Forum Replies Created
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The only caution with re-wrapping…the camera media containers are cross-platform and other containers may not be…at least with all payloads. It’s always a good idea to keep the original camera format files as a backup.
TimK,
Director, Consultant
Video Producer at I-CAR -
You won’t be able to duplicate the fluid motion of 50 fps with 25 fps…I’m not certain why you’d think you could. You have divided the time into half as many increments…twice as much movement now happens in between frames.
Now…you would certainly get better looking motion if you’d shot 25 fps with an appropriate shutter speed in the first place. I’m sure that action looks pretty choppy as each frame is probably very sharp because the motion was captured with a shutter speed like 100 (usually twice the frame rate is default) vs 50.
So…you’d have to go through some process of speed conversion that added some motion blur to make the 25 fps conversion ‘feel’ appropriate.
TimK,
Director, Consultant
Video Producer at I-CAR -
Bridge has been conspicuously left out of the modern video file wrapper/metadata arena. I’m not certain why…and I’ve asked the question…a lot.
Bridge is apparently for print/web.
In addition to being frustrating, it seems illogical in the face of Adobe’s philisophically interlocking suite of applications…
TimK,
Director, Consultant
Video Producer at I-CAR -
I think the key is that each tool has a function…
Noise reduction…really effective noise reduction…is a computationally intensive process. Generating noise to emulate film grain or removing it is typically not a real-time process. Premiere Pro is an editing system and editors need the material to react rather immediately and at full speed to understand their pacing and shot cadence.
So…intensive effects that need to render out are typically fine in AE, where you take the finished product and move it to PPro to sync it with sound and do anything that is editing-related.
It’s why there is 2 applications and not one or the other.
TimK,
Director, Consultant
Video Producer at I-CAR -
Yes, as Alex states, you can’t hold in/out points when relinking to clips of a different length than the offline proxies.
While Premiere Pro reads timecode, in and out points seem to be saved as ‘trims’ in relationship to the original clip length….change the media length, slide the ‘trim’ points.
TimK,
Director, Consultant
Video Producer at I-CAR -
As Alex said, PPro to AE really isn’t the optimal workflow as it’s designed by Adobe…
However, if you know that’s the workflow you want, it means you need to plan for it…i.e. using opacity fades and overlapping clips as opposed to dissolve transitions on inline edits in this particular case.
TimK,
Director, Consultant
Video Producer at I-CAR -
I didn’t say I couldn’t bring myself to sell things…I’ve done that.
When the industry has moved on and the stuff isn’t even worth anything to sell, I have a hard time throwing it out.
Canopus DV cards (or any DV cards) have been redundant for a decade…so they really aren’t worth anything to anyone not running a 15 year old computer (and editing mediocre quality standard definition).
I suppose it’s nostalgia. In the back of my mind I keep thinking a museum curator will be calling me up one day, and they’ll ask me for some of my old stuff for a diorama with life-sized cavemen trying to green screen some 4:1:1 footage…
TimK,
Director, Consultant
Video Producer at I-CAR -
There are different processes that can be allocated to additional GPU cards…1 for PPro effects preview…another for CC 2014 and later Media Encoder…more recently a function was added that could use GPU for raw decoding (RED, etc).
I wouldn’t load the machine with random GPU cards…that sounds like a roller coaster ride to me.
TimK,
Director, Consultant
Video Producer at I-CAR -
Can’t you play out a timeline into the camcorder, then use the analog output to the VHS machine in real-time?
Keep in mind that any analog tape standard definition format is interlaced…no exceptions.
TimK,
Director, Consultant
Video Producer at I-CAR -
Keep in mind that when CS 5.5 came out in 2011, OpenCL was not ready for prime time. That software used CUDA exclusively.
In CS6, they got enough OpenCL working to allow it in MacBook Pros where the users had no other option…and that’s where the two OpenCL cards listed for CS6 come in.
In CC, OpenCL was fully in play…so Adobe HAS taken care of the OpenCL support…way back in 2013.
For those of you waiting for Adobe to somehow ‘upgrade’ 2011 era software to greater OpenCL support…it’s as likely as any other software company updating software it doesn’t even support any more I suppose…
TimK,
Director, Consultant
Video Producer at I-CAR