Walter Biscardi
Forum Replies Created
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[Todd VanSlyck] “Although I’m having this weird sync issue. About half the time when I start to view a commercial i’m working on, the audio starts first then about a second later the video starts. The next time I do it, no problem. “
If you’re using a third party video card like AJA / BMD check the plug-ins and drivers. AJA has been making some great strides especially in the audio sync department.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[walter biscardi] “Cannot recommend “An Editor’s Guide to Adobe Premiere Pro” by Richard Harrington, Robbie Carmen and Jeff Greenberg. “
Whoops, that right, “I cannot recommend ENOUGH” this book. Awesome and I believe they have a new version about ready to drop for CS6. Woot!
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Wilbert Thomas] “it was definitely an operator error I changed my drive letters on my PC. Everything is working fine now.
“That actually brings up a great point when working in a Mac / Windows hybrid shop. Our Windows machine sees the SAN as a series of letters. Our Mac machines sees the SAN as their standard SAN 1, SAN 2 partition names.
So when a project moves from one OS to the other, all the preview files are lost until we point the project at the first one. Even though the files are always on the exact same drive / partition, the two OS’ see the SAN as different names. Can be annoying, but at least we know this is how it works.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[David Kessler] “Thanks Walter, that’s what I was afraid of. I was so happy to ditch FCP for Premiere but this one caveat is the single thing that is keeping it from being a truly seamless workflow. I’ll try your method. It doesn’t sound too bad. “
You’ll be frustrated at first at having to do the Scene Cut Detect. I was. Took me almost 2 hours to set up the first show because I was “all thumbs” and trying to figure out the best way to do the Scene Detect. Also, the first time I did it, I cut all the scenes at the dissolves which is a big no-no.
If you haven’t already, download Alexis Van Hurkman’s training series from Ripple Training. Awesome tool and he does a nice job walking through the Scene Cut Detect.
Like I said, now I’m down to around 10 – 20 minutes to set up a 30 minute show through Scene Cut Detect as I’ve prepared about 20 shows now. Yes I would LOVE to have Transcode / Consolidate like Avid, but for now, we flatten. If SpeedGrade ever opens up to AJA / BMD output I’ll consider that tool, but nVidia output only keeps me away from that.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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If everything is dual mono now, they should import as dual mono into Premiere Pro. That is two audio tracks with the same audio so you can just strip out the duplicate track if you want to.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[ivan zuccon] “Looks like there’s something wrong with this update because since I’ve updated I have a lot of “A serious error” messages!
If I put a clip into the Source Monitor and press play and then I double click to a clip in a bin I have the error message! I see this on two machines.”
Are you running an external video card like AJA or BMD? Make sure you’re running the latest drivers / plug-ins from those as they can throw up “Serious Errors” too. I really wish we could get an Error Number rather than “Serious Error.” That message is about as useful as “General Error” in FCP.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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David, we export OMFs on a weekly basis for our broadcast show from both Mac and Windows based systems for our ProTools artist. Our editing is all native formats across the board. The exports always throw up an error window, but the designer says all the files come in just fine. Sometimes a random file will be missing and he just tells us where that file is and we grab it and send it separately. But as far as being useful, it does work just fine here.
Have you disabled the “Workspace Bar” or whatever it’s called in the timeline and just used the In to Out markers? We always disable the Workspace or Work Area bar in the timelines as it seems to cause some problems for us when exporting.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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So many things to consider here. First off, read my “Cautionary Tale for the FCP Switcher” before you make the jump to Avid. We did that first and it put us 12 days behind schedule on a broadcast episodic series because the native AMA functionality does not work as it should. I still have two copies of Avid Symphony installed in our shop, but they are now there for other clients who bring work already started on Avid.
https://magazine.creativecow.net/article/a-cautionary-tale-for-the-fcp-switcher
Next, have your editors had any training at all in PPro? In many ways PPro is a continuation of FCP. In other ways, it works completely differently. If you try to make it work just like FCP you’ll be frustrated. If you understand that it has its own way of working and adapt your workflow to the strengths of the tool, you’ll have a happier crew. Cannot recommend “An Editor’s Guide to Adobe Premiere Pro” by Richard Harrington, Robbie Carmen and Jeff Greenberg enough. That book is in all of our edit suites as we are coming from 11 years on FCP to CS6. You can also download to kindle / ipad
https://www.amazon.com/Editors-Guide-Adobe-Premiere-Pro/dp/0321773012
If all your editors are doing is “learning as we go” they are in for a world of hurt and frustration. My editors were frustrated at first too, but as they got the book and they really started diving in, now they don’t want to use anything else. PPro is NOT perfect by any means, still designed too much by an engineer and not enough input from day to day editors, but that is changing rapidly.
The big questions are how are your systems configured and how is your media storage configured? We have discovered in our facility that when we have the Adobe Premiere Pro interface on dual screens, we drop frames constantly. That was frustrated for everyone for about two months before I stumbled upon the solution by accident by re-setting the interface to a single screen and the dropped frames went away. Even our 12 Core Mac Pro with lots of RAM, dual nVidia cards drops frames if we have the interface on two screens.
So can you give us some insight on how you’re configured, what you’re working on (commercials, short form, long form, etc…) and we might be able to help. Also feel free to contact me off forum. We currently have 7 machines configured on our SAN for Premiere Pro editing, 6 Macs and 1 Dell Windows machine.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Robbie Carman] “Just keep in mind while legal levels does what it says in my experiance RGB gamut issues can still get thru. Thats why in our workflow these days we still play out through a legalizer to a hard disc recorder that can do any flavor or prores/dnxhd etc
“Yeah, that’s what bit us too recently. Honestly never had those issues with Color and was hoping for a “Global Ceiling / Floor” setting like I did in Color so it was just “set it once and forget about it.”
I’ll play around with your suggestions, thanks guys!
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Honestly cannot force anything outside legal video, but I didn’t know if that was just a scope thing or there is truly a hard video limit.
If I turn off “Normally Scaled Video” it does the same thing. So is this truly clamping or just the scopes clipping off?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.