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1. Re: Film List
Shane P Jun 14, 2010 2:03 PM (in response to Shane P)FIXED TYPOS...SORRY.
Hi,
I have looked through the forums and browsed the internet quite a bit. Is there a list of feature films/television shows that have/are cut entirely on PR PRO? I found some info that had what major material was done on Final Cut and Avid, but can't find anything on PR PRO. Would love to know if PR PRO is being used by Hollywood heavyweights and not just typical projects like "Indie Films", "Wedding Videographers" and "My Son's Babseball Game", etc.
I saw the video a little while back on the Adobe website where Photoshop was used in the production of Avatar and PRPRO was used for building some sequences, but ultimately if I recall the video correctly everything was finished in Avid.
Think that would be cool if Adobe would post a list of "High End" projects that were done on PRPRO, kind of like Apple and Avid post on their sites. I would love to see Adobe start kicking Apple and Avid's collective A$$ in Hollywood Post.
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2. Re: Film List
Shane P Jun 15, 2010 9:58 AM (in response to Shane P)Well I guess by the number of views and lack of responses I guess that answers that, lol.
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3. Re: Film List
Huntrex Jun 16, 2010 8:42 PM (in response to Shane P)Premiere Pro has previously been known for its stability issues, especially with long form projects (including full length feature films). But with the rock solid release of Premiere Pro CS5, including 64-bit native and the debut of the Mercury Playback Engine, that may soon change...
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4. Re: Film List
Rex Hollingsworth Jun 16, 2010 9:45 PM (in response to Huntrex)Edited TV shows on it, and many award-winning productions.
Again, stability on long projects was always an issue, but we would split shows into segments, then render and merge.
It was a pain, but at the same time, it got the job done. The worst part was when a project corrupted, that was always awful. Autosave to the rescue...
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5. Re: Film List
JSS1138 Jun 16, 2010 10:06 PM (in response to Shane P)I've never edited a Hollywood blockbuster before, but my own sense of things is that Premiere is still lacking some features that Hollywood needs and Avid Film Composer has, which is probably the reason it's the more trusted tool in tinsel town.
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6. Re: Film List
Rex Hollingsworth Jun 16, 2010 10:21 PM (in response to JSS1138)I saw some items on Avid that were amazing and I wished would make their way over to PPro.
Did you ever see the scene analyzer (ScriptSync) that would automatically divide up takes and match them to the script, even if the actors ad-libbed?
Awesome. Looked like it made rough edits a breeze, but at the same time, I hope that's where Adobe's going with their speech recognition.
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7. Re: Film List
medeamajic Jun 16, 2010 10:30 PM (in response to Rex Hollingsworth)function(){return A.apply(null,[this].concat($A(arguments)))}
Rex Hollingsworth wrote:
I saw some items on Avid that were amazing and I wished would make their way over to PPro.
Did you ever see the scene analyzer (ScriptSync) that would automatically divide up takes and match them to the script, even if the actors ad-libbed?
Awesome. Looked like it made rough edits a breeze, but at the same time, I hope that's where Adobe's going with their speech recognition.
I am almost posative Premiere Pro CS5 has a script writing program that also allows for Scriptsyncing within Premiere, OnLocation and even Encore.
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8. Re: Film List
Rex Hollingsworth Jun 16, 2010 10:39 PM (in response to medeamajic)I'll have to check it out. So much in CS5 that's new, although I've heard
speech recognition is still a little wonky.
During the CS4 roadshow, they showed off how you could edit by word, but
that's not to the level of sophistication that I saw with Avid (it would
recognize, sort, and rough cut for you, then let you pick and choose to
assemble your rough edit side-by-side with the script).
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9. Re: Film List
Shane P Jun 17, 2010 5:18 AM (in response to Rex Hollingsworth)I knew it wasn't just me! I actually posted a thread a few days ago titled "Stability". I was saying that I hoped PPRO CS5 would address key stability issues. I have had large projects suddenly crash and become corrupt. I have to break them into smaller projects because PPRO would choke on a huge project file. Large project files would also choke with Dynamic Link. I recall calling into tech support and being told that my project file was corrupt and they had no clue why...(yeah right).
Anyway glad to see Adobe has addressed these core issues. I was just on the Avid website last night watching a bunch of their videos on how "Iron Man 2", "Star Trek", "Transformers 2", etc were cut together and they were cool. I don't think FCP is an obstacle anymore and can compete feature for feature easily but still is lacking when going up against Avid.The networking integration alone where multiple editors can work on the same bins from different machines is beautiful.
I personally feel that Adobe dropped the ball several years ago with PPRO. If PPRO was engineered and market better several years ago with the PS, AI and AE integration would have made it a tough Hollywood competitor back then. Unfortunately I think no matter how hard Adobe pushes PPRO or how many features are added I think the mindset in Hollywood has been engrained with Avid but you never know. I think PPRO unfortunately has been branded in the minds of many "professional" film makers as the "Wedding Videographer's" choice so to speak.
I think if Adobe developed network integration into PPRO and AE such as Avid and developed a 3D modeling tool to compete with 3D's Max, and had a pro color grading tool that would truly be a "Master Collection" and truly a complete tool box from beginning to end.
"Come on Adobe! Smack Avid, Apple and Autodesk in the mouth with a true COMPLETE MASTER COLLECTION!!!"
Shane
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10. Re: Film List
Stephen Eckelberry Jun 17, 2010 8:23 AM (in response to Shane P)I think there is going to be a lot pressure on Adobe to improve the editing interface from Hollywood editors, now that Premiere has the best digital workflow for Red files. I cut a couple of features in the nineties on PP, but talk about unstable. I had a kitchen timer set to ring every 15 minutes to remind me to make a copy of my project, otherwise I would lose everything in a crash and my project couldn't be opened.
I have been editing with Avid and FCP for years, mostly FCP, which I have used since FCP1.
It was with great reluctance that I went back to PP to cut the current feature I am working on, but I am happy with it now. There are some things I prefer on PP to FCP, like being able to label tracks, and the audio gain that actually increases the size of the waveforms, love that. Other thing I find irritating, for example, when you ripple delete, why doesn't the CTI snap back with you? Everytime I do an extract or ripple delete, I have to scoll back to see what I just did. FCP fixed this somewhere around FCP2 I think. I could go on, but I will save the nitpicks for a blog.
The big thing that has to be fixed in order for PP to be taken seriously by Hollywood editors IMO is subcliping seperate audio and video, since most Red projects and film projects require syncing sound. This is serious, and has forced me to adopt work-arounds that other feature editors would not tolerate. Nesting the clips doesn't cut it, I loose waveforms, and there are issues when trying to do EDLs, relinking and conforming.
If Adobe listens to editors and fixes interface issues, I believe they could give FCP & Avid a real run for their money.
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11. Re: Film List
Jerry.K Jun 17, 2010 9:04 AM (in response to Shane P)Feature requests, as well as bug reports, should also be posted at https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
where the app teams will be sure to see them.
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12. Re: Film List
Huntrex Jun 17, 2010 9:09 AM (in response to Stephen Eckelberry)Other thing I find irritating, for example, when you ripple delete, why doesn't the CTI snap back with you? Everytime I do an extract or ripple delete, I have to scoll back to see what I just did.
The big thing that has to be fixed in order for PP to be taken seriously by Hollywood editors IMO is subcliping seperate audio and video, since most Red projects and film projects require syncing sound.
File a feature request.
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13. Re: Film List
able123 Jun 17, 2010 1:58 PM (in response to Huntrex)I've been using CS3 for a year about, learning about editing using this program, but I understand the fundamentals are shared by any good NLE...as they basically have to do what you could do with flatbed film editing , plus more FX and maya type spaces ( keys , layers etc ). IMO most new stuff is going to have even MORE FX and spatial manipulation ( camera match moves etc )....
The good thing for me is I might be able to work on some of that if it comes to NYC area and actually "contribute" something more than if I didn't learn how to edit and use an NLE ---- at least enough to realize what's being counted on to make editing more trouble free... keep it fun, so to speak....
I've worked as a crew member on this stuff ( had old resume on puter...5 years old now ? ) -------
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Sopranos, Sex And The City
What’s Not To Love, Big Apple, Runaway Bride
8 Millimeter, Della Ventura, Spin City,
NYPD Blue, For Richer Or PoorerRansom, Godzilla, Men In Black, Sabrina
Sleepers, Angels In America, Stewart Little
Independence Day, Stepford Wives, Dead Man Walking
Devils Advocate, First Wives Club, Sleepy Hollow
------------And the good thing is ------- I never heard anyone tell me in the past year that I've been using CS3 that I couldn't do it.... It's really about the product and not the tools and stuff except as far as time and efficiency goes...the delivery conduit ....
But anyway, I never heard anyone on the set say bad stuff about Adobe products...at least we got THAT going for us.
Rod
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15. Re: Film List
Stephen Eckelberry Jun 18, 2010 1:25 PM (in response to able123)"But anyway, I never heard anyone on the set say bad stuff about Adobe products...at least we got THAT going for us."
I don't know any editor or post person that has anything but complete admiration for After-Effects. But PP is another story. The friends I told that I was cutting a feature on PP thought I was nuts. One friend who is an ACE, told me; "Why don't you use a professional progam like FCP?" Of course that is the same thing he told me when I said 10 years ago that I was using FCP. Now that's all he uses. So times do change.
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16. Re: Film List
Eric Addison Jun 18, 2010 5:22 PM (in response to Stephen Eckelberry)There have been a few films that I know of cut with Premiere Pro. Of course, there's Dust to Glory that always comes up in this discussion. I seem to recall hearing that the indie film Primer (a very cool movie BTW) was edited with Premiere. I also remember reading in Studio daily some time ago that an indie film shot in Israel that started with Avid and moved over to PPro during production...I can't remember the title - I'll see if I can find out. But it was supposed to be a good film. I know other people who used it to cut feature length stuff that didn't make into theatres.
Avid owns Hollywood. More Hollywood films are cut on Avid then anything else. FCP is making some inroads, but it's still Avid that rules. There's a few reasons for this - one is that Avid has been around a long time. Most of the established editors started their NLE experience with Avid, and so that's what they want to use because...#2 Avid works. It just does. It's stable, it's feature list is extensive, and it's been designed with Hollywood in mind. One other thing to keep in mind about Avid is that it's made by a company whole sole purpose is creating editing software...it's what they are dedicated to.
I love PPro - I use it every day, and I LOVE the direction it's taking. But it still needs some work to be on par with Avid. Don't get me wrong - I feel it's better then Avid in many ways...that's why I use it. But from a PR stand point, from a media management stand point, and because of a bad reputation when working with long form projects, it still has some work to do. CS5 is a HUGE step in the right direction. And CS5 is making other editors take notice. But it's going to be some time (and some continued product advancement) before it can make any kind of inroads into Hollywood. I hope it does. I'm rooting for it. But it'll take some time...or some big name fillmaker to use it for their project - that would be huge in developing a good reputation for PPro.
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17. Re: Film List
shooternz Jun 18, 2010 6:52 PM (in response to Shane P)Hollywood is not necessarily editing capital of the world and feature films are not necessarily "the be all and end all" of editing!
From their surveys...Adobe would certainly have some idea of the distribution of Premiere Suites and the type of users. They would also know the industry uses of the applications plus where on the planet the apps are being used (eg. outside Hollywood)
It is doubtful they would reveal this information.
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18. Re: Film List
JSS1138 Jun 18, 2010 10:26 PM (in response to shooternz)Hollywood is not necessarily editing capital of the world and feature films are not necessarily "the be all and end all" of editing!
I disagree on both counts. In our business, Hollywood is "King of the World!" It is the highest plateau one can reach in terms of distribution of one's work and overall respect of the community as a whole.
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19. Re: Film List
able123 Jun 19, 2010 6:29 AM (in response to JSS1138)Interesting and excellent posts ... though we should probably be in the lounge at this point...( plus there's beer there - and good wine, thanks to Bill ! )
NY State is trying to add a film production tax credit for POST ....( editing )
Right off the bat it is recognized that the post for movies is out west... not NY.
Some of the best technicians ( most I would suggest ) including directors, directors of photography, camera operators, etc. are out west ( or live in places like Montana etc and work in LA ). If you are Spielberg ( who has a lot of control over his projects ) you use those people you trust are the best ...and they are not anywhere else but LA ... His crew will travel with the film all over the world.... In fact, most HUGE movies that come to NY from LA will bring their keys and DP and operators - put them in hotels, and NY will have local keys to back them up with crew.... but the other way around is not likely.... NY jobs going west will not usually bring keys from NY to LA...
So I have to suggest ( even though I'm in NY ) that LA has got NY beat.
One reason is the huge stages out there. NY doesn't have half the space and giant sized stages that LA has. The other reasons are just obvious...the volume and intensity ( concentration ) of talent out there through the big studio years..
I think most editing has been on some machines and programs that studios or editing houses designed and owned outright before avid came along to start editing "on location" to basically do quick digital "dailies" ( or sometimes called rushes )...so you could see in the morning what you shot the day before...rough cut... with some kind of sound included. Using it later on for final cuts and transfer back to film came a bit later..
Schools are now gearing up ( film schools - some of which are useless when it comes to really helping students become film makers ....but that's another story ) with FCP more than any other editing software.. Macs with FCP.... That will have a huge effect on what the future brings.
Film ( panaflex and then arriflex ) 35mm cameras and lenses is STILL the king.... for various reasons ( dependability, durability in all weather, specs - variable shutter speeds, shutter, optics - and replacement availability -and quality of film stock - color correction issues etc ) and I don't think any NLE should be overly "happy" about any specific digital camera codec working well. My guess is the more the NLE can handle, the better.
A 200 million dollar movie, by virtue of its huge commitment - ( designing and building things that will be used just for that film - including things like James Bond's Astin Martin (sp? ) - and all sorts of cool stuff like that for stunts and so on ( 2001 space odyssey rotating room to show stewardess walking around to another hallway comes to mind ) .... non of that is possible on anything but big budget movies so I would say there is something to be said for the PRO to be associated with movie making. Obviously there's more than that to editing and so on... but there's no reason to think it is NOT PRO work.
Anyway, back to the main subject.... Let's hope Adobe continues to improve its products ( and installation programs ) and nobody gets embarrassed on some job ( like some location ) because of instability when literally hundreds of people getting paid lots of money on a tight schedule are all staring at the "video" guy who is using Adobe for some special key effect or whatever ( normally on a shoot the video is playback only - but sometimes for special stuff an "editor" type guy will show up with his stuff - vectorgraphs and so on ) .
Rod
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20. Re: Film List
joe bloe premiere Jun 19, 2010 7:06 AM (in response to able123)I have been a Premiere user since v5.1.
Initially I used the program for offline timing cuts of animation
and compositing sequences created on my own 3D workstation.
Once timings and comps were right, I would dump the rendered
sequences to sy-quest disks, trundle them to the post facility where
I worked, import them into either Media Composer, Symphony, DS,
or Fire to do the finishing with the clients sitting in the suite...
a great workflow that endeared me to many of my clients who were
amazed when I would import and drop pre-timed graphic pieces into their
cut. Both clients and facility manager often said "You did that at home?!!"When Premiere turned "Pro" in 2003, I believed the release showed that
Adobe was on the proper development arc to challenge the established
NLE heirarchy. I felt the time was right to escape the high-overhead, lease
your software world of the traditional post facility and work freelance directly
with my clients. I faced a lot of "you aren't using Avid?", and "what is Premiere?"
type questions, but the proof for clients is the end product and the bottom line.
I have been successful as a freelancer using Premiere for the last 5 years.That said, I have never come across a post house with a "Premiere Suite".
Lots of FCP, Smoke, et al... but no Premiere.
I believe that a lot of this has to do with pre-conceived notions about Premiere,
and the comfort level that familiarity with the Avid brand brings to clients.
But, with the gap of functional capability quickly vanishing, (with Premiere in
the lead in many aspects) I see only one thing that is truly an encumbrance:
external monitoring.Avid introduced hardware acceleration with Adreneline, Nitris, Mojo...
and did not sacrifice external monitoring to achieve real-time effects.
In Hollywood, you can't sit in a edit suite with the producer/director, etc.
and tell them to come and look over your shoulder to see what you are doing.
Nor can you tell them "wait a minute... I need to render this timeline before
you can see it in real time". Explaining to the people who are paying the bills
that you have to disable real-time hardware acceleration (MPE) in order to
display to an external monitor does not help with the pre-conceived notions
that Premiere is not up to the task. The next time they book, it will be FCP
or Avid.Real time external monitoring of hardware accelerated editing along with
output to a broadcast calibrated monitor for color grading is going to be
a must for Premiere to break the "Pro-sumer" stigma, and be accepted as
a viable and cost efficient alternative to the NLE status quo in the big leagues.I hope it comes soon. I already gloat to my editor friends who are still at
post houses about how I can edit RED 4k in real time using CS4.
I get a big kick from their incredulous reactions, and I would love for
Premiere to overtake the NLE market and give me more reasons to gloat. -
21. Re: Film List
able123 Jun 19, 2010 7:24 AM (in response to joe bloe premiere)----------------
Avid introduced hardware acceleration with Adreneline, Nitris, Mojo...
and did not sacrifice external monitoring to achieve real-time effects.
In Hollywood, you can't sit in a edit suite with the producer/director, etc.
and tell them to come and look over your shoulder to see what you are doing.
Nor can you tell them "wait a minute... I need to render this timeline before
you can see it in real time". Explaining to the people who are paying the bills
that you have to disable real-time hardware acceleration (MPE) in order to
display to an external monitor does not help with the pre-conceived notions
that Premiere is not up to the task. The next time they book, it will be FCP
or Avid.
----------------Kinda unbelievable ....I think you're right that this is the largest single issue currently keeping CS5 on the 2nd string bench and out of the game.
I'm curious...what sort of red camera stuff are you editing ? Interior ? Exterior ? Lighting ? I kinda just want to know more about how far that camera is coming along. I loved it when it was introduced and have since then only heard one thing about it that might not be cool...which is that during some SFX shots involving explosions the chip was adversely influenced by some strange sound wavelengths ... and failed. That's just heresay --- I don't want to say that is a fact....but you know how it is.... something happens....nobody knows why....everyone puts in their 2 cents worth to try to figure it out...
Rod
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22. Re: Film List
joe bloe premiere Jun 19, 2010 7:39 AM (in response to able123)I'm curious...what sort of red camera stuff are you editing ? Interior ? Exterior ? Lighting ?
Interior, exterior, studio green-screen comp shots... all look great!
I work with a really good shooter who has been a RED advocate for years
and is part of the beta test program for RED. He has excellent lighting skills
developed from years of film work, and in my opinion that is what makes the
real difference in how the footage looks... good lighting = great footage.
No experience with explosions.
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23. Re: Film List
able123 Jun 19, 2010 7:57 AM (in response to joe bloe premiere)Ahh...thanks Joe,
When I first saw that " farm girl drinking milk " sample RED did to promote the camera I was on a job ( on set ) and we had a huge display ( the show included some FBI type surveilance thing, using a lot of high end displays and computer stuff ) and we stuck in up on the big screen to watch it...and all the camera guys were blown away by ( believe it or not ) how the pixels in the background ( in blurry areas ) were holding together ...no pixelation ...
I was looking more at the girl actually drinking milk and wondering where she lives....but that's because I'm a grip.
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24. Re: Film List
Stephen Eckelberry Jun 19, 2010 8:36 AM (in response to joe bloe premiere)For features, where you have a couple of film makers sitting in a room for a couple of months, real time monitoring would be nice, but getting a big second monitor does the trick, and if there is a screening rendering out a DVD or Blueray.
Getting back to the original post:
The first film I cut on Premiere was an indie micro-budget "Mobius" in '97, using believe it or not 2 iomega 1 gig removable drives (shot on super 16), then a 35mm indie film called "Men" starring Sean Young which won a bunch of awards and was picked up and did pretty well. On that one I would make video tape dailies of the workprint, edge code them, and created edls that reflected the edge code, which 2 assistants would then conform on film benches. Then we would continue cutting on a flatbed steenbeck. (I just sold my 8 plate steenbeck for $1 a few months ago) I cut a bunch of trailers as well which I would online from the digibetas, But PP was unstable as hell. I went back to D-Vision, Avid, and FCP, even Media 100.
Got back in to PP because some creative French guys who are the DPs and SFX guys on the current film I am editing talked me into it. They had cut their feature "Sodium Babies" and all their commercial and music video work on PP and AE. You can't argue with talent: dekabrothers.com. They swear by it.
Soon as Adobe takes up my suggestion to make subclips, I might swear by it too.
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25. Re: Film List
able123 Jun 19, 2010 9:19 AM (in response to Stephen Eckelberry)---------------
On that one I would make video tape dailies of the workprint, edge code them, and created edls that reflected the edge code, which 2 assistants would then conform on film benches
------------------
Nice Dekabrothers site. Thanks.
I'm new at learning how to edit, am using CS3...just premeire pro ....and I'm curious...
How do you reconcile ( use fruitfully ) the script notes from takes to your EDL ?? Or is that what you use primarily to begin with , to choose what the director wanted "printed" from the takes... ? If so, why make an EDL ...seems you'd be able to just put the prints ( even multiple prints of same scene if the dir liked more than one, and a take for safety also ) onto a sequence timeline for that paticular "reel"...and then sort of whittle it down to final decisions based on the script and notes etc ...
I don't know anything about this...but isn't the EDL redundant in that case ? ( except for the timecode )....but you could make THAT notation on the script notes... no ??
I have digressed, but this is confusing to me...
Rod
ps .. I think what I need to do is work on a 60 sec TV commercial from takes and script notes, storyboard, etc...and get my feet wet that way...the idea of doing a movie is just totally overwhelming at this point....
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26. Re: Film List
Stephen Eckelberry Jun 19, 2010 10:09 AM (in response to able123)Script & director's notes are guides, not orders. I explore every possible take and shot, and try to get the best stuff in the movie, keeping in mind that storytelling comes first. EDLs have little to do with creative work. Shoot and edit shorts of your own, probably the fastest way to learn. But this is getting off-topic.
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27. Re: Film List
able123 Jun 19, 2010 11:30 AM (in response to Stephen Eckelberry)----------------
Shoot and edit shorts of your own, probably the fastest way to learn
--------------
aha...thanks...
Rod
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28. Re: Film List
able123 Jun 19, 2010 11:59 AM (in response to able123)Wow ! Ice Station Zebra is on TCM cable in a few minutes here in NYC area...1968...Gregory Peck ! haha...
My brother told me he liked this movie ( when it came out he was in the navy ...he is 1.5 years older than me ) ...he didn't want to get drafted so joined the navy to stay away from Viet Nam... so he got on a destroyer and ended up straffing the shores of the HO CHI MIN trail for a year or so....LOL....
Anyway, I've wanted to see this movie for eons....he saw it in 1968 ....and think it would be cool if everyone watched it and reported on " What I would have done different using PP CS5 "..... to make it better !!!! A slight variation of " what has been edited using PP "....more thinking positive .....what cool stuff could have been done to make this movie even BETTER....using CS5...
Rod
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29. Re: Film List
able123 Jun 19, 2010 1:04 PM (in response to able123)hmmm... Here's what I would have done, using CS5....
is Rock Hudson..not Gregory Peck...
MGM lion should be snake striking lens instead.
Put editor's credit first... Ferris Webster
Use shots looking down on radar installation instead of up....( more like satellite POV )
Use shots with less hard light ( lighting )
Use after affects to enhance separation of parachute from landed satellite
Have snake in satellite ( when opened ) strike guy in fur jacket ---- then page curl
Rock Hudson leaves cafe after telephone call should be high angle - who's the midget shooting this thing ??? !!
cross dissolve to sub interior instead of "cut to:"
when camera tilts to show sub diving and climbing use more dramatic effects with position / scale / twirl effects...
at this point I realize this is an exercise in futility and I have once again strayed from the subject....no wonder every editor wants to think they are telling the story as if it just dropped into their laps.....
Rod
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30. Re: Film List
Bill Hunt Jun 19, 2010 1:13 PM (in response to Stephen Eckelberry)But this is getting off-topic
That is the wonderful thing about the Lounge. So long as we steer clear of religion, politics, profanity, etc., the topics are really pretty open. I also think that your comments added to the discussion, though they might not have followed the OP's intent exactly. Lot of great thoughts get shared here, on tangents.
Just watch out for Rod, as he'll soon be throwing in references to Snakes on a Plane, or his upcoming sequel, Babies on a Plane!
Thanks for sharing the comments,
Hunt
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31. Re: Film List
jeremy d. Jun 19, 2010 9:59 PM (in response to Huntrex)And he did:
I would like it if every time I did a ripple delete or an extraction in a sequence that the CTI would move back to the cut point rather than stay where it was. As of now, when I do an extraction, I am forced to rewind to the cut to see what I just did. this can be irritating if I have ripple-deleted a big chunk of clips to be able to find where I was. There is a cumbersome work-around which is to be sure that the CTI is at the in-point of the extraction or ripple delete before extracting, but it's hard to remember to do that, especially since I am so accustomed to this feature being installed from working with Avid & FCP.
Huntrex wrote:
File a feature request.
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32. Re: Film List
JSS1138 Jun 19, 2010 10:10 PM (in response to joe bloe premiere)Real time external monitoring of hardware accelerated editing along with output to a broadcast calibrated monitor for color grading is going to be a must for Premiere
I would only add "without the use of third party hardware". The above needs to happen using any video card the computer has in it. And it needs to send a black screen to that monitor (never any part of the desktop), unless a clip is actually playing or paused.
This is what is needed and wanted Adobe. Make it so...
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33. Re: Film List
jeremy d. Jun 20, 2010 12:52 AM (in response to JSS1138)That is unrealistic.
There are plenty of cards, probably the majority, which just wouldn't handle that, with anyone's NLE. If you want that kind of performance, you need pro gear. Any old stock card won't cut it.
What you're proposing means that we'd have to test every card made, which is not possible. If we just opened it up, without testing, and said "Sure, use whatever card you want," and then some failed, we'd be accused of not testing enough. I have already read that in this thread -- and it is a ridiculous and truly uninformed statement to make.
The above needs to happen using any video card the computer has in it.
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34. Re: Film List
able123 Jun 20, 2010 6:29 AM (in response to jeremy d.)I'm sure Jim means " any video card " , within reason and meeting the requirements ... not just any card no matter what...
My feeling is that the more cards supported the better..... within reason ..of course...though with MPE now this seems to me a problem that the manufacturers of cards would want to address as much as anyone else ??
Rod
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35. Re: Film List
Bill Hunt Jun 20, 2010 8:36 AM (in response to JSS1138)This is what is needed and wanted Adobe. Make it so...
Hunt
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36. Re: Film List
JSS1138 Jun 26, 2010 11:01 AM (in response to jeremy d.)There are plenty of cards, probably the majority, which just wouldn't handle that, with anyone's NLE.
OK.
Why?
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37. Re: Film List
jeremy d. Jun 26, 2010 1:02 PM (in response to JSS1138)I'm thinking about cards that wouldn't make it onto Harm's list of acceptable hardware, low-end cards that come on low-end systems. "Majority" might be only 50.001%, but I'm guessing that of the machines sold throughout the world, only some have the guts to make it happen.
The technology will be available someday, no doubt, to do "Real time external monitoring of hardware accelerated editing along with output to a broadcast calibrated monitor for color grading," and that day will be a great day, indeed.
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38. Re: Film List
Bill Hunt Jun 26, 2010 1:09 PM (in response to jeremy d.)And do not forget the embedded Intel graphics chips, that are still too prevalent in some rigs being used to edit video - more often encountered in the PrE forum, than here, fortunately.
Hunt
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39. Re: Film List
medeamajic Jun 26, 2010 8:36 PM (in response to joe bloe premiere)Avid introduced hardware acceleration with Adreneline, Nitris, Mojo...
and did not sacrifice external monitoring to achieve real-time effects.
In Hollywood, you can't sit in a edit suite with the producer/director, etc.
and tell them to come and look over your shoulder to see what you are doing.
Nor can you tell them "wait a minute... I need to render this timeline before
you can see it in real time". Explaining to the people who are paying the bills
that you have to disable real-time hardware acceleration (MPE) in order to
display to an external monitor does not help with the pre-conceived notions
that Premiere is not up to the task. The next time they book, it will be FCP
or Avid.Real time external monitoring of hardware accelerated editing along with
output to a broadcast calibrated monitor for color grading is going to be
a must for Premiere to break the "Pro-sumer" stigma, and be accepted as
a viable and cost efficient alternative to the NLE status quo in the big leagues.These two paragraphs above are incorrect.
I was an Avid editor back in 1998 my friend. The Avid Media Compose had realtime out put to the NTSC monitor back then. Back then the Avid Media Composers were based of the Targa 2000 Pro capture card and used the Pinnacle Geni Board to get the realtime effects. I did plenty of over the shoulder editing for the clients with that system. Premiere can out put HD and SD to the NTSC monitor using a DV converter to check CC but a Decklink card like the Intensity Pro would be a better option. You can also use the HDMI port of the graphics card to out put to the NTSC monitor but it is not wise for CC.You can check out the link below to see how the DV converter method works.





