Transfering Your Timeline From Avid Media Composer 5.5 to Premiere CS5.5

Here is a video tutorial showing how to get your sequence out of Avid Media Composer 5.5 to Premiere CS5.5 using your original media, not QT Reference files that link back to your DNxHD files.

I hope this helps!

A few notes:

DNxHD is a fine codec, but the only 10bit flavor as of this writing is the highest DNxHD setting (DNxHD has different names depending on frame rate, etc).  ProRes, ProResHQ are 10bit. Also, ProRes is wrapped in .mov, so most other programs like After Effects and Davinci Resolve recognize these media files.  Also, you can bring in your raw camera files if they’re are .mov files into your special fx programs and color correction programs.

Enjoy and let me know if there is anything that can be improved along the way in order to make the process simpler!  Let’s help out the community.

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PANASONIC ANNOUNCES NEW 4/3″ VIDEO CINEMA CAMERA

There’s no doubt in my mind that this is a direct result of the DSLR HD market. It’s good to see someone stepping forward. Hopefully the rolling shutter artifacts such as skewing, etc, are minimal. Hopefully this comes in around $5k-$6K or cheaper, as that would really fit well in the market. This could be the cam that people who dislike DSLRs might flock to. Especially for onboard audio.

Interchangeable lenses don’t hurt either.

Then again, Scarlet is supposed to be right around the corner… we shall see…

Release date is “end of 2010” putting it behind the Scarlet release date (as of today, April 11, 2010).

MY OPINION ON A 4/3″ SENSOR

Honestly, no, I don’t think the sensor is too small. I’ve had the chance to use a Panasonic GH1 and it’s a pretty good size, especially if you plan on using this badboy without a focus puller. Yeah the 5D sensor is bigger, but I think it’s TOO big. You get real world shallow DOF at f5.6. Anything wider than that and the DOF is INSANELY SHALLOW for movement. Try it, you’ll see. Even the 7D, practically the same size “sensor” they use in Hollywood, has it’s challenges. I’d say about f2.8 or f3.5 are as low as you’d want to go on the 7D with it’s sensor size (unless it’s a special shot) but in most real world situations, 2.8 or 3.5 give you plenty shallow DOF. And that’s at 25mm. At 50mm, f5.6, your DOF is insanely shallow on a 7D. Even that might not be usable, depending on the shot.

To sum it up, if you’re worried that a 4/3″ sensor isn’t big enough, it’s plenty big enough for shallow DOF. And if you need it more shallow, it’s got interchangeable lenses so put on a faster lens and/or zoom in. You should have plenty shallow DOF to work with.

Here’s the PRESS RELEASE from Panny’s site.

PANASONIC INTRODUCES AG-AF100,

4/3” PROFESSIONAL HIGH-DEFINITION CAMCORDER

* Premier AVCCAM Video Camera Combines 4/3” Sensor with Superior Video Quality, Professional Audio Inputs, Variable Frame Rates, SDXC Card Technology *

LAS VEGAS, NV (April 11, 2010) – Panasonic Solutions Company today announced a game-changing AVCCAM HD camcorder, the AG-AF100, the first professional micro 4/3-inch video camcorder optimized for high-definition video recording. Scheduled to ship by the end of 2010, the AG-AF100 will set a new benchmark for digital cinematography.

Targeted at the video and film production communities, the AF100 delivers the shallow depth of field and wider field of view of a large imager, with the flexibility and cost advantages of use with a growing line of professional quality, industry standard micro 4/3-inch lenses, filters, and adapters. The full 1080 and 720 production camera offers superior video handling, native 1080/24p recording, variable frame rates, professional audio capabilities, and compatibility with SDHC and SDXC media.

The design of the AF100’s micro 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie cameras in a less expensive camera body.  Equipped with an interchangeable lens mount, the AF100 can utilize an array of low-cost, widely-available still camera lenses as well as film-style lenses with fixed focal lengths and primes.

“Designed in consultation with the filmmaking community, the AF100 eclipses the video performance of other cameras in this price range,” said Joe Facchini, Vice President of Sales & Product Management, Media & Production Services, Panasonic Solutions Company.  “Ideal for film schools and independent filmmakers, this affordable, digital cinematography camera employs an advanced professional AVC/ H.264 Hi Profile AVCHD codec compatible with a wide range of editing tools and affordable players.”

The AF100 incorporates a 4/3-inch, 16:9 MOS imager. The camcorder records 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p, 50p, 30p, 25p and 24p (native) in AVCHD’s highest-quality PH mode (maximum 24Mbps). Ready for global production standards, the camcorder is 60Hz and 50Hz switchable.

The AF100 maximizes the potential of its high-resolution imager with built-in ND filtering and dramatically reduced video aliasing. Standard professional interfaces include HD-SDI out, HDMI, time code recording, built-in stereo microphone and USB 2.0. The AF100 features two XLR inputs with +48V Phantom Power capability, 48-kHz/16-bit two-channel digital audio recording and supports LPCM/Dolby-AC3.

This newest Panasonic AVCCAM camcorder is the first to enjoy the benefits of advanced SDXC media card compatibility in addition to existing SDHC card support.  (SDXC is the newest SD memory card specification that supports memory capacities above 32GB up to 2TB). With two SD slots, the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode

The AG-AF100 will be available by the end of 2010. Panasonic will support the AF100 with a three-year limited warranty (one year plus two extra years upon registration).

About Panasonic Solutions Company

Panasonic Solutions Company empowers people whose jobs depend on reliable technology. Panasonic Solutions delivers collaboration, information-sharing and decision-support solutions for customers in government, healthcare, education and a wide variety of commercial enterprises. Products and services within the company’s portfolio include Panasonic Toughbook® mobile computing solutions, projectors, professional displays (including both plasma and LCD), and HD video acquisition and production solutions. As a result of its commitment to R&D, manufacturing and quality control, Panasonic is known for the reliability and longevity of its products. Panasonic Solutions Company is a division of Panasonic Corporation of North America, which is the principal North American subsidiary of Panasonic Corporation (NYSE: PC).

All brand and company/product names are trademarks or registered trademarks of the respective companies. All specifications are subject to change without notice. Information on Panasonic Solutions Company’s full line of products can be obtained by calling 877- 803-8492 or at www.panasonic.com/business-solutions.

Avid Media Composer 5 New Features Video

Here is a video of Avid Media Composer 5’s new features.

http://www.postmagazine.com/ME2/dirmod.asp?sid=&nm=&type=VideoLibrary&mod=Video+Library&mid=F9CF6647706A4F6896011A63F395F460&tier=3&id=4064F6EF357E4271A40E44773EC52A4E

No doubt that they’re now listening to editors and trying to attract some Final Cut Pro editors.

AMA

The AMA features look great. I wonder what type of performance we’ll get from editing native R3D 4K files though. As for HDSLRs, I’d still rather convert to DNxHD for finishing / color correction. I just wouldn’t want to keep it in h.264 format. Hate LONG GOP.

TIMELINE MANIPULATION

Looks interesting. Basically, it automatically changes the mode depending on where your cursor is in the timeline. Pretty cool, but I think I would keep the timeline the way it is or maybe just enable some of the segment mode options. I wonder if you can snap to the playhead, but I doubt it. That’s what A LOT of Final Cut editors do but as I said IN MY LAST POST, you can’t snap to the playhead in MC4. You have to set an in or out point. Either way, interesting feature.

MXO2 MINI SUPPORT

This is what I’ve been waiting for. Previously, you had to have your HD monitor hooked up to the video card (or if you had 2 monitors and an HD display, you need 2 video cards) to trick Avid into thinking it’s the secondary monitor in order to get fullscreen playback. And even then, tearing in fast moving video was an issue (however minor it is). Now, we have a CHEAP monitoring solution in the MXO2 Mini ($500 for the non-MAXX) version. This is great, but I’d like to see support for AJA, BLACKMAGIC, and the rest of the MXO2 family. This is only the beginning and hopefully we’ll see that support later. But the MXO2 Mini is a good pick for starters. This is the beginning of a new era for Avid I think. We’re finally getting a cheaper solution for monitoring.

Full-Quality HD-RGB Processing

Hey, better quality finishing in Avid Media Composer? Sign me up!

RED ROCKET SUPPORT

There’s a rumor flying around on Twitter that it’s supposed to have RED ROCKET support! Another plus!

Here’s a detailed description of the key features of Avid Media Composer 5 from Avid’s website.

Work Directly with RED Using the Newly Improved AMA
With Media Composer 5, AMA (Avid Media Access) has been completely reengineered, so you can work natively with more file-based media formats now and in the future. With the new and improved AMA, you can speed up RED workflows by directly accessing RED files (.R3D) in Media Composer without having to prepare them through MetaFuze (all footage is scaled to HD frame size). Plus, you have access to its full metadata and color management data too.

Edit QuickTime Formats Natively
Get native access to all popular QuickTime formats, with full access to clip metadata. Thanks to AMA, you can natively access and edit any movie that can be played in Apple’s QuickTime Player (including Apple ProRes and .mov files captured by Canon 5D and 7D cameras) right in Media Composer — no transcoding, rewrapping, or logging and transferring required.

Drag and Drop Video and Audio to Edit
Get comfortable — with Media Composer 5, you can truly edit the way you like. In addition to the standard way of editing, you can also now directly manipulate elements in the timeline to edit video and audio. Drag and drop clips anywhere you want on the timeline to rearrange sequences. And grab a clip’s in or out point and drag to trim a scene, dialog, or music.

Get Full-Quality HD-RGB Processing
Keep those finishing jobs in house, and deliver the highest quality color and effects work, with support for full-quality 4:4:4 HD-RGB color space processing in Media Composer. With the higher resolution detail, you can perform color correction, keying, and effects work with greater precision and ease. And if you have a Nitris DX-based system, you can digitize, process, monitor, and output (output in Symphony systems only) projects in HD-RGB, using the two HD SDI connections to handle the high-bandwidth resolutions.

Monitor Video Externally through Matrox MXO2 Mini
If you don’t have a Nitris DX- or Mojo DX-based system, Media Composer 5 opens the door to third-party workflows, enabling you to monitor video externally using the Matrox MXO2 Mini interface, which is available for Mac and Windows systems. When paired with Media Composer software, MXO2 Mini becomes a dedicated, high-quality monitor-only solution for file-based or workgroup production, so you can view your video work in real time without any major expense.

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HOW TO GET YOUR FINAL CUT PRO TRIM MODE TO ACT LIKE AVID’S (SORT OF)…

The point of this blog post is to explore the Final Cut Pro TRIM MODE (and Premiere Pro‘s). Many people think the Final Cut Pro TRIM MODE sucks. I don’t believe it does. In fact, I think it’s pretty damn usable. Am I the first person you’ve heard say that? I’m not crazy, I promise. Just check out the video below and see what I mean.

But before you do that, I want to cover a few things. It seemed to me that many people saying that the Final Cut Pro trimmer sucks don’t know that you can actually play the media while in trim mode. You can. Watch below. Also, I believe the Premiere Pro trimmer needs work. It’s worse than the Final Cut trimmer, as you cannot play your media while in trim mode.

You may also want to watch the video in 720p so you can see the screen clearly.

Watch it here in HD – http://www.youtube.com/watch?v=Xrym5N26x5s

Also, here is a QUICK overview of the Avid interface/trim mode. A lot of people are not familiar with how Avid works or have “tried it once and hated it.” You need to spend more time with it, use it the way it was intended, and not try to get it to work the way Final Cut or Premiere work. Avid is a different way of editing.

Oh and by the way, you can also hit “U” on the keyboard to enter trim mode in Avid. I forgot to mention that in the video.

Watch it here in HD – http://www.youtube.com/watch?v=mhNxSDjduRM

HERE IS THE LINK for the remapped Final Cut Pro keyboard settings for better editing efficiency. It’s from THE EDIT BLOG ON PVC. The link to download the keyboard layout is at the end of the article (page 2) but I suggest you read the entire article before you download it.

Enjoy and happy trimming!

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YOUTUBE WIDESCREEN IS FUNNY

WHAT’S SO FUNNY ABOUT YOUTUBE WIDESCREEN?

When trying to put up my FIRST VIDEO BLOG showing what I like and dislike about Premiere CS4, I ran into the trouble of trying to get my WIDESCREEN footage to display properly on YOUTUBE. Compared to sites like Vimeo, which can automagically convert your footage to widescreen (I export .wmv at Widescreen PAR – 1.2121 or whatever the crazy number is – with a frame size of 720×368 andVimeo works its magic to get it to completely fill its player window), YouTube’s widescreen works a bit differently.

WHAT SETTINGS DO I USE?

After some testing, I’ve found out the following:

First off, YouTube (the site, not the people at the company) knows nothing about PARs so it seems. So you HAVE TO use a SQUARE PIXELS aspect ratio (PAR 1.000). Next, you have to use a frame size of 1920×1080 or 1280×720 for HD footage. For SD, you should use 864×486 or 640×360, again, with a PAR of 1.000 (Square Pixels). That will display your videos correctly.

If you don’t use Square Pixels as your PAR and you use something like a PAR of WIDESCREEN 1.2121, your video will look squeezed and everyone will look super-thin (which some people may like *ahem models ahem*). Using the WIDESCREEN 1.2121 PAR might seem to be logical but YouTube doesn’t like it.

RECAP

So basically here is a recap of the settings you want to use for YOUTUBE Widescreen:

HD

  • PAR 1.00 – Square Pixels
  • 1920 x 1080 for 1080p footage OR
  • 1280 x 720 for 720p footage

SD

  • PAR 1.00 – Square Pixels
  • 864 x 486 OR
  • 640 x 360

And that’s basically it. So there you have it. I hope this helps you guys in getting your videos to display correctly on YouTube!

Also, stay tuned for the FIRST VIDEO BLOG on WHAT I LIKE AND DISLIKE ABOUT ADOBE PREMIERE PRO CS4.

Oh, and finally… please SPREAD THE WORD about this blog and find it in your beautiful hearts to Stumble, Digg, Facebook, etc. this post and my blog. Any help in getting the word out will be greatly appreciated!

One more thing, don’t forget to leave comments and let me know what else you’d like to see, or state your opinion about NLEs and their features and what YOU would like to see in your NLE.

Until next time!

PEACE AND LOVE!

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Avid’s After Effects EMP and Adobe Premiere Issue.

Quick note everyone.

If you have Avid on your system and you install the Avid After Effects EMP, apparently, it causes an error when trying to capture DV/HDV footage from tape.

This issue came up with Adobe Production Premium CS4 and Avid Media Composer 2.5.3. Not sure if this issue happens with Avid Media Composer 3.

The issue that comes up when capturing in Premiere is a message in the Capture Window in Premiere: “Cannot activate recorder. Try resetting camera.”

Apparently, it’s a codec issue. I hope this helps. If you come across this problem, it’s probably a codec issue and you may have to uninstall a codec pack, so keep this in mind when you’re installing codec packs because it’s not just Avid’s After Effects EMP. I’ve heard it happen with other codec packs as well.

http://premierepro.wikia.com/wiki/Error:Can%27t_activate_recorder

and this

http://www.adobeforums.com/webx/.3bb4a963

Keep this in mind! Hope this helps!

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