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-Information FAQ http://forums.adobe.com/message/4200840
Welcome to the forum.
What is the CODEC used in those MOV files? MOV can contain many dozens of different CODEC's, and PrE can only work with some of those. For background, see this FAQ Entry: http://forums.adobe.com/thread/440037?tstart=0
Also, be sure that you have the latest version of Apple's QT Player installed on the computer running PrE, as it installs many of those possible CODEC's, but not all of them. Also, some CODEC's are designed for playback, and not for editing - they are delivery-only CODEC's, and work well for playback.
Good luck, and please let us know a bit more,
What version of Premiere Elements are you using and on what computer operating system (including 32 or 64 bit)?
And, the usual drill, do you have QuickTime latest version installed on your computer and are you running Premiere Elements in a User Account with Administrative Privileges?
"I add the 3 clips to the Premiere Elements Organizer, and from there I drag and drop them into the Premiere Timeline. They show in the Timeline perfectly, no problem.
I run the assembled clips as a Premiere movie, and only a black screen shows."
a. Can you play back the clips in the Elements Organizer of Premiere Elements? What does the thumbnail for the video file look like in the Elements Organizer? Does it show the first frame of the video or other?
b. When "..show in the Timeline perfectly..." what do you mean...you can see frames with images in Video 1 and wave form in Audio 1 at the level of the Timeline tracks?
But, I am not clear on what you mean by "I run the assembled clips as a Premiere movie, and only a black screen shows". I am not sure how to interpret that:
With video placement in the Timeline, what do you see in the monitor with the play button of the Edit Mode Monitor not on? Are you saying that once you hit the play button of the Edit Mode Monitor, the screen suddenly goes back during the playback for the run of the Timeline content?
Or, is this "..as a Premiere movie.." the export of your Timeline rather than viewing the Timeline content in the monitor prior to export?
Looking forward to you follow up with regard to requests for additional information.
Ermmmm .... John .... click what below?
John T. provided a link, that he thought would be helpful. You can click that, or if your browser has an issue, just Select the link, Copy it, and Paste it into your browser's URL window.
Thank you, Bill. I'm guessing that John wants me to go to the "-Information FAQ http://forums.adobe.com/message/4200840" link, which asks me to provide further info. Will do.
However, there's this up front: My version of QuickTime is 7.73 (1680.64) And when I check for current updates, I get, "Your QuickTime software is up to date."
I'm guessing that Premiere Elements relies on QuickTime embedded in my system to run the movie tests. Is there some mechanism by which I can check to see if P-E is linking correctly to QuickTime?
And by the bye, should've put my full name into my post. I'm Roy Hayes, a novelist from Los Angeles now living in Las Vegas. You can see more about me by going to www.thelastdaysoflasvegas.com and clicking on "an interesting life." I put the entire website together myself, using GoLive, PhotoShop, Illustrator, and InDesign. I made the animated GIF of a running and correcting typewriter scroll in PhotoShop, then turned it into an animated GIF with ImageReady.
Yes, PrE does rely heavily on QT Player, and also the various CODEC's, that it installs on the system. That does look like the latest version, so should be good.
Knowing what is inside the MOV "wrapper" will be useful. As a for instance, if the material was edited on a Mac, in say FCP, it could contain certain Mac-only CODEC's, or CODEC's that are ONLY available on a Mac with FCP installed. Then, there are many dozens of other possible CODEC's, that could be contained. On my PC, under MOV files, I think that I have 25 different CODEC's, that could logically be inside. On a Mac, and especially one that also has FCP, I would guess that there would be another 25, that I do not have.
As you created the MOV files in PS, I assume that you are either using PS CS 6, or an earlier version in the Extended version (back to CS 3). While PS and PrE are both Adobe programs, there can be some differences, but I would assume that the CODEC chosen in PS would be one installed on your system, so that it should be available to PrE - however, there ARE some CODEC's that are for playback only, some that will also work for Encoding, and then some (much smaller sub-set), that will work of Editing too (depends on the NLE, Non Linear Editor, program though. That is why knowing the CODEC might help determining what is wrong with your files.
As for one's screen name, that is personal preference. Some people go with their name (or maybe a version of it, if theirs has been previously taken), where some look for some unique, defining characteristic, or just try to find some alpha-numeric combination, that has not been used yet.
Here's the skinny, per the link from John:
FAQ: What information should I provide when asking a question on this forum?
Feb 13, 2012 12:43 PM
When asking a question on the Premiere Pro user-to-user forums, you can make it easier for folks to help you by proactively providing the answers to the following questions:
What version of Premiere Pro? Include the minor version number (e.g., Premiere Pro CS5.5 with the 5.5.2 update).
I'm not using Premiere Pro. I'm using Premiere Elements 11.
Have you installed the recent updates? (If not, you should. They fix a lot of problems.)
Yes, running latest.
What operating system?
Windows 7 Professional 64-bit (6.1, Build 7601) Service Pack 1 (7601.win7sp1_gdr.130318-1533)
Processor: Intel(R) Core(TM) i3 CPU M 370 @ 2.40GHz (4 CPUs), ~2.4GHz
Memory: 6144MB RAM
Available OS Memory: 5942MB RAM
Page File: 2152MB used, 9729MB available
Windows Dir: C:\Windows
DirectX Version: DirectX 11
Display Device: Card name: Intel(R) HD Graphics
Manufacturer: ATI Technologies Inc.
Chip type: Intel(R) HD Graphics (Core i3)
DAC type: Internal
Device Key: Enum\PCI\VEN_8086&DEV_0046&SUBSYS_1439103C&REV_02
Display Memory: 1696 MB
Dedicated Memory: 64 MB
Shared Memory: 1632 MB
Current Mode: 1600 x 900 (32 bit) (60Hz)
I can't seem to find any codecs. (Only codecs found are in the computer's diagnostics. After checking on the Properties of the *.mov files, via right-clicking, I find no indication of codecs. Where else should I look?
As stated, I've created these *.mov files with ImageReady, and can easily view them with QuickTime. If they are viewable in QuickTime, it's unclear to me why they shouldn't be viewable in Premiere Elements.
What other software are you running?
Nothing is running simultaneously with PE 11. No third party effects, certainly.
Are you using Mercury Playback Engine GPU Acceleration?
Nope. Haven't even heard of it, mate.
As stated, problem shows up in initial preview.
A shame, really. I dumped PowerDirector because it kept locking up my computer. Had to do a shut-down, re-start just to get PD's forzen splash page off my monitor. Aside from the usual and much-dreaded learning curve, PE seems to be a lot more user-friendly. At least it's not locking up my system. Also, I'm guessing that it's more willing to integrate materials from other Adobe software.
Final idea, which I suppose I should look into on my own: When exporting the ImageReady conversion, the default isn't *.MOV but *.SWF. I wonder if PE will import SWF files. I'll check that out sometime later today.
Guys, thank you for your efforts. I'm putting together a video to accompany a KickStarter pitch. Obviously this is more important to me than a video of my neighbor's dog retrieving a Frisbie.
If you download and install the great, free file info utility, MediaInfo, and run one of the MOV files through that, it will tell you what the CODEC is.
I have some fears about the embedded Intel graphics chip, and primarily its video driver. Is your computer a Dell, HP, Lenovo, etc., and is it a laptop?
My first stop would be to the Intel Web site, to compare the latest driver for your chip and OS, with the installed video driver. If you have a Dell, etc., then stop by their Web site too, as some major computer companies will re-wrap the chip maker's video driver, to match their version of the hardware, and the OS.
Nope. Using CS 2.3 (I always worry about the "CS" part, a holdover from my highschool days I image).
The actual PhotoShop version is 9.0.2. The ImageReady version is 9.0.
However, there's also this: If the material shows perfectly ... and I mean perfectly ... in QuickTime, why should it show a black screen in Premiere Editions?
Also - the previews along the Timeline are similarly black. Perhaps I should go back and review all of the steps I took to get them there. (Tomorrow's Sunday. Think a visit to the local Vegas church, Our Lady of the Tables, would help?)
As often as not, I've found that glitches are caused by the Hayes, rather than by the computer. (Does the term "GIGO" ring a familiar bell?)
Might I have your attention for the moment as I ask you to try to recall a detail in your workflow that initiated this particular project?
In Photoshop 9 (aka CS2) in the "QuickTime movie area" there is a list of several video compressors that you had to choose from.
Go Pro-Cineform Codec
Does any one of them ring a bell as to the one you might have went with to accompany the file extension .mov? Were these animations that you created as .mov files with compression info yet to be shared?
Interesting, since Photoshop CS 2, or version 9.0.2 did not allow for Video production (not until CS 3 Extended, or version 10.x). I am not sure how you are producing MOV files from CS 2.
I did a bit of detective work on Photoshop CS2 which I do not have....it seems that if you go into Image Ready and select Animation, there are options for exporting movie for your import. One of the formats is QuickTime (.mov, qt.) which offers the choice of those codecs that I listed in my prior post to RoysScreenName. At this time I am not sure if Photoshop CS2 or its Image Ready component have route other than through Animation.
Guys, all of you, my gratitude, first of all. Your help and interest has been above and beyond the usual standard of most forums I've seen, and I'm in your debt.
Bill, CS 2.3 offers *.mov output from ImageReady (per PhotoShop 9.0.2). Very simple.
Romano, the outputs are via "Export" " - "Original Document" - and then the default export clip is in *.swv "Macromedia(r) Flash(tm) SWV (*.swv)"
You can also output in PMP, PCX, Pixar, QuickTime Movie (MOV), Targa, and TIFF.
Note especially that this is all via "Export, Original Document," not via "Save as."
Romano, as you say, options are: "Compression type" Animation / DV-PAL / DV/DVCPRO-NTASC / DVCPRO-PAL / H264 / JPEG 2000 / MPEG-4 VIDEO / NONE / PHOTO - JPEG / PNG.
I chose "Anmiation," insofar as this is an animation.
Next is "Comperssor" with options of Best Depth / Color / Grayscale.
I left this at the default, "Best Depth" (choices range from Bland & White to Millions of Colors).
Finally there's "Quality" with options of Least to Best with a sliding ruler tab. I pushed the slider all the way the the right .... "Best."
When I chose "Animation" and the highest range on the "Quality" turns to Millions of Colors.
Now, Bill and Romano, does your "codecs" (whose meaning I still don't understand) prefer "H234," given my needs? My gut feeling was that "animation" was more pertinent, insofar as that's what I've been creating - simple animations of neve more than 70 frames - ie less than 3 seconds.
It stumps me entirely. If the clips fly in QuickTime, seems to me they should in Premiere Elements as well.
But, please, don't scratch your heads any more over this. I feel guilty for having taken up so much of your time as it is. You guys have gone the extra yard for me!
Let me go back and run through the dirll again, both exporting from ImageReady and importing into Premiere Elements. It may be that I can somehow hack a fix. ("Will hack for food!")
Thanks for the follow up with the details that I believe have led to you answering your own question.
I got my hands on Photoshop CS2 and went the exact route that you described for the production of your ".mov" files that were displaying black in Premiere Elements 11.
I typically write the answers are in the details. And, here this was the case.
Your route uses the Animation compression for your .mov file. The Animation.mov file so produced, when imported into Premiere Elements 11, gave me black video.
Use instead the H.264 video compression in the Photoshop CS2 Image Ready setup for the route you have selected for producing your .mov there. I have road tested this, and it worked for me. Let us see if it works for you also.
Referring back to your post #14 screenshot...you are in the wrong place. Please check out:
Photoshop CS2 Image Ready
Under inferface Window Menu, have check mark next to Animation......Import image(s)
In setup for all this
Export Orginal Dialog (in this dialog before the Save, the user selects the "Save As Type" = "QuickTime Movie (*mov, *qt)"
After the user hits Save for that Export Original Dialog, the user gets the Compression Setting Dialog which has the options for Compression Type, Depth, and Quality. In my post #11, I have listed the choices for Compression Type.
Thank you for the info on ImageReady. I will need to explore my Export options more closely.
Now, the Animation CODEC in MOV should Import and edit just fine. It is a great CODEC for quality, though the files are fairly large (not an issue, if one wants very good quality), and it's one that I have used often. Before retirement, I bought 3D animations from several artists for my clients' Projects, and it seems that all were on Mac's. I specified MOV [Animation] for their delivery, and those files have always worked perfectly for me. Normally, I was working in PrPro, but PrE accepted them, as well. I also Exported/Shared to MOV [Animation], when I needed to hand off "reference files," to those artists. None ever had an issue with my delivered files. In all cases, with their 3D files coming to me, they used Millions of Colors, and Best.
As for "taking too much time," I can only answer, "Pshaw!" That is what we love to do, and we love a mystery. It keeps MY mind young.
I will look into Exporting from ImageReady, using your settings, if I can find them. While I have used ImageReady in the past, it was almost 99% for just editing Images for the Web, and only 1% for an animation, then always using the GIF for an animated file. For actual Video work, I was always in some form of Premiere, so probably just need to dig around a bit more. If I can make that work, as you specify, I will output to MOV [Animation], which would have been my choice too, and test the output file in both PrE 4 & 11 (my only installed versions). Those files SHOULD work, and work fine. I am at a total loss, as to why they would not in PrE 10.
I have not read ATR's latest Reply, but will do so now, as he might have something useful (as he normally does), for your situation.
That is the Export dialog screen from ImageReady, but perhaps with different material in the test Project, there ARE other options, that were not readily apparent to me with that quick one.
As I mentioned to Roy, above, I have used ImageReady quite a bit, though not for a Project, like his. I mostly use it for preparing Images for the Web, and have only done a few Animated GIF's. Nothing like his use, so I need a few more minutes with the program.
Will report when I find the MOV w/ the Animation CODEC.
Will be looking forward to your results.
Also, in your post 18, how did Premiere Elements 10 factor in here. I thought that RoysScreenName said he was using Premiere Elements 11.
Your results should be interesting..again for me:
RoysScreenName workflow (Animation.mov)...I confirmed the black video in Premiere Elements 11 and extended the tests to demonstrate that the same workflow but with H.264 as video codec instead of Animation gave great video in Premiere Elements 11.
Since your models are Premiere Elements 4 and 11, I will go back and do the tests in Premiere Element 4 as well.
Working from Roy's instructions, I found that Export setting, and did the following:
- MOV [Animation] Millions of Colors, Best
- MOV [Animation] Millions+ of Colors (with Alpha Channel), Best
- MOV [PhotoPNG] Millions of Colors, Best
- MOV [H.264] Best
In PrE 4 & 11, only #4 worked with visible Frames, and in PrPro CS 2, again only #4 worked. I did not try the other Export options, but just those three w/ one variation.
Why MOV [Animation] does not work out of ImageReady to Premiere, I do not know, as that format w/ that CODEC does work well in Premiere, though Exported from other programs. There is something not quite right with Animation, or even PhotoPNG (another popular CODEC for MOV files). All of the test MOV's did play fine in QT Pro, VLC and MediaPlayer Classic HC. Why? I do not know what is wrong with those other files, but ATR has one answer, that works just fine - H.264.
@Roy, thanks for asking the question, as I learned a bit more about my ImageReady, in an area where I have never used it.
Just a re-confirmation of my results from multiple tests...going through the user's workflow, his detail by detail,
The Animation.mov produced by Photoshop CS2 played back great in QuickTime Player, but played back with black video in Premiere Elements 11 and 4. The thumbnail in Project Assets/Project Media was black before the file hit the Timeline in each version.
By contrast, repeating the whole workflow (only changing the video codec from Animation to H.264) produced a H.264.mov produced by Photoshop CS2 that played back great in QuickTime Player as well as in Premiere Elements 11 and 4. The thumbnail in Project Assets/Project Media was the first frame of the file. No black video.
Probably lots of other variable to look at but I have put a hold on that unless there is further interest.
That is exactly what I encountered. Of the four versions/variations, only the H.264 CODEC MOV behaved in a desired manner. I did not try all other possible CODEC's, or settings, but with three failures (including the common PhotoPNG), and one success (your suggested H.264), I stopped the tests.
You are also correct about the "poster frame," in that the first three versions/variations yielded a black Frame in Premiere Elements and PrPro, but played fine in three software players, regardless of that poster frame.
Good find with the H.264, and while that would not have been my first choice (my choices all failed), should help Roy get to editing his animation.
Despite Bill's disclaimer, I'm really humbled by the amount of time and smarts you guys have invested in my little migrain. As for keeping the mind young ... dunno about you, bubba, but I'm 4 years shy of 80. And I've no idea why other old farts resist computers and such. I joined the Valley Computer Club (Los Angeles) in 1978 to learn how to build and program computers (S-100 buss, CP/M operating system). You had to write our own BIOS and BDOS back then, and a friend wrote them for me. Unfortunately they took up too much space in the upper area of 64K memory, and I had to re-write the BIOS. Didn't have a handle on Assembly Language, so I re-wrote the puppy in raw hex - much easier, believe me.
Actually, this HP G72 is the first computer I've ever bought. All the others I built from the case up. (The original "desktop" computers were exactly that, designed to sit flat on the desk. Why the current crop of floor-sitting computers are called "desktops" is beyond my own system of logic. Unless people do a lot of work lying prone on the carpet.)
First thing I learned at VCC was "If it works, it's obsolete."
Second thing I learned, from the guys at VCC and the propeller heads at the tech desks, was "RTFM." ("Read The [F-word]ing Manual.")
Third thing I learned was "There are exactly 10 kinds of people in the world: Those who understand binary, and those who don't."
Anyway, envough of this digressing.
Romano, I'm going to give your H.264 a shot. I'm guessing that it'll work, insofar as you've road-tested the thing.
Also, I'm going to do what I should've done in the first place: RTFM.
I bought a copy of Adobe's Premiere Editions Classroom in a Book. I s'pose that I'll have fewer problems once I've read and applied the lessons in that ... as opposed to my current and very brilliant choice of groping around blindly in the dark.
Again my gratitude.
"Sometimes the magic works, sometimes it doesn't." Chief Dan George in Little Big Man.
Romano ... THE MAGIC WORKED!!
Thanks for the help. Still, I'm gonna RTFM.
Great news of your success. Thanks for the stick-to-it-tiveness.
Exploration and experimentation with the program are major keys to success.
But we look forward for the opportunity to be of assistance with your Premiere Elements projects when needed.
Continued success...thanks for the follow up.
Unless people do a lot of work lying prone on the carpet.
Well, that depends on how deeply I am, into Wine-Thirty.
First thing I learned at VCC was "If it works, it's obsolete."
Could not agree more. If you get it home, it's time to replace it with bigger, faster, better. One computer took a month to build, as nVidia kept upping the ante, and was releasing new graphics cards weekly. I went through 3 newer ones, before I ever fired it up.
Second thing I learned, from the guys at VCC and the propeller heads at the tech desks, was "RTFM." ("Read The [F-word]ing Manual.")
I always thought that RTFM translated into "Read the FINE Manual... " Shows how little I know!
If you have not seen it yet, our tireless MOD, Steve Grisetti, has a great book, The Muvipix.com Guide to Premiere Elements 11. He has also written one for each previous version, going back quite a bit. I highly recommend his books, and have a fairly complete library of them, especially as there is no real "manual." It is not a workbook, like CiaB, but IS a great replacement for the MIA manual.
Reading down, I see that "the magic worked!" and that is great news.
Thanks for hanging in there, and happy editing,
"Exploration and experimentation with the program are major keys to success."
We used to call this "hacking." But the sociopaths seem to have coopted the word.
The orignal hackers were the Juniors at Cal Tech. The Seniors had an anual Ditch Day, and the Juniors had to come up with hacks to the Seniors' dorm rooms. Like dismantling a Vdub and reassembling it in some guy's room.
Other hacks were the CalTech guys who set up a gag on Hollywood Blvd, where one pretended to be a blind pianist, and the other guys trashed his piano and split before the cops arrived. But the best of all was the time the CalTech guys used their skills at burglary (from decades of breaking into Seniors rooms, despite all kinds of trick locks and protection systems) to break into the hotel room where USC students kept their instructions for animated card displays during a Rose Bowl game. The CalTechies decoded the master plan, then rewrote the instructions and made photocopies (hundreds, as I remember) for all of the students in the cheering section.
During half-time on New Year's Day, when the card trick for an animated Tommy Trojan came up for viewing, Tommy was replaced by the CalTech Beaver! Animated!!
The first computer hackers were also the greatest propeller heads ever ... the guys at PARC. This was in the old PDP-10 days, and the medium was BBS. The guys had noticed a flaw in Motorola's BBS that allowed entry by unauthorized visitors (for which read "the propeller heads at PARC'). They sent a message to that effect to the Motorola BBS-meister. No reply, no change. Another such message. Again, no response. Finally they hacked the Motorola BBS. Don't recall what they put up as a msessage, but think it was similar to the CalTech Beaver gag, where they turned the Motorola BBS face page into an ad for Xerox. (Don't know if you're old enough to recall this, but Palo Alto Research Center was a division of Xerox. It's also the place where Woz and Jobs stole dozens of ideas, including the GUI mouse.)
Yes, I remember PARC. Shortly after its real "glory days," I shot ads for both IBM and HP. Actually started before that, when we used Wang "smart consoles," to hook into the ARPANET. Union Carbide's engineering department was one of the commercial entities, to be allowed to join in - most were academics and government, with but a few dozen corporations.
Early on, the IBM guys left two computers, used in shots, and we began playing with them. Not much was available, but our office manager grew up with various Heathkit computers, so he wrote a word processing app., and then an accounting app. Soon, we WERE doing something them, and even bought a Primages Impact Printer (a division of Xerox), to print out 5-part invoices and statements. What a tank, but a great tank. When I got WordPerfect 1.0.X, I had to write a driver for the Primages (with a bit of coding help from Orem), but got every function to work.
I inherited one of the early IBM's, when Kodak gave us a 286, and set us up to be a pilot lab for what became their Q-Lab program. For the longest time, I used my computer for gaming, but let's just say that gaming was much different back then. In a few months, I bought my first 286, and made it into a real hot-rod for the day. Soon, Windows hit, and so did programs, like Freehand, PageMaker and PhotoStyler. Right behind that, Adobe bought Aldus, and I moved to Photoshop on the day that it was released for the PC.
A few of us do go back to those days.
Good luck, and happy editing,
Bill Hunt . . .
You are an old guy, bubba!
Wrote your own word processor? Not sure why. I used Michael Shrayer's Electric Pencil, the first ever WP for micro-computers, back in '78.
When I graduated from CP/M to a PC-XT that I built from parts, I found that Michael had sold the Electric Pencil rights to an outfit in Texas, and that new version for PC-DOS/MS-DOS was available. Which I immediately bought.
My problem with WordPerfect (and Word Star) was that, although it had better printing and formatting facilities than Pencil, it wasn't a writer's program. That is, you couldn't write as fast as you think. (I learned to touch-type at age 12, and my handwriting has been deconstructing ever since.) And all of the Windows/Apple word processors are really document formating tools ... poor-boy imitations of desktop publishers.
Fact is, I still use Electric Pencil on my MS-DOS system. And am writing this on it, prior to saving and transferring to the HP laptop.
The greatest advantage of EP is that it lets you rewrite the entire keyboard, up to and including all of the Function keys. I've rewritten my keyboard so that I never lift my hands from the keys. Don't use a mouse, don't use the cursor arrows, don't use the Page Up, Page Down, Insert, Delete, Home, or End controls. I do it all right on the keyboard via Alt/Ctrl/Shft on the QWERTY and Function keys. This way I'm not distracted from the critical activity of putting ideas onto paper ... errmmm ... I mean, putting ideas onto the black screen.
The Windows/Apple word processors are so busy dealing with the format and spelling and such that they distract you from your real chore, which is to write clearly and well. F-word living well. Writing well is the best revenge!
(In some cases, the word processing software arrogantly assumes that the propeller heads who wrote it are more knowledgeable about grammar, semantics, and sentence-construction than you. I've seen some hysterical results where writers have run text by Hemingway and Faulkner through word-processing "correction" programs. Real knee-slappers.)
In fact, though I'm not a gambler, I'll bet you good money that I can more speedily type and edit on the fly with Electric Pencil than anyone you know who uses a Windows- or Apple-based word processor.
(My printer, by the way, was a Diablo 1620 daisywheel. Sound familiar? Paid close to $2,000 for it - including forms tractor - new. Years later I bought ten more 1620s, complete with bidirectional tractors, for $15 each at Lockheed in Burbank. They used to have surplus sales now and then!)
I'm guessing that you started your career as a cinematographer with a Cine Kodak or Bell & Howell, yes? (I can't see you with a sound-blimped Mitchell on your shoulder.)
That's what the guys at Brooks were using when I studied there in '54. (I was only 17, most of the other students were Korean War vets, studing on the GI Bill.) I was a still photography student, and like most of the still guys had a Graphic View II. (The rich guys had Deardorffs and Linhofs.) Fact is, I still have a couple of Graphic View 4x5s and a 500 lb (well, maybe a little lighter) Bogen tripod. Haven't gotten around to selling 'em yet.
Back then we considered 4x5 to be medium format, 120 film to be small format, and 35mm to be miniature photography. Now of course 120 is called "medium." (I think the same thing has happened to eggs, which have had their reputations ramped up.) Large was 8x10 and beyond, where Deardorff was king.
My small camera, which I wish I still had, was a Kodak Medalist.
The cinematography guys called their Cines "Skinny Kodaks."
Brooks back then was one of the three best photography schools in the country. The other two were Eastman-Rochester and the Navy school in Pensacola.
At Brooks we used gamma-curves to control and analyze negatives. Back in Rochester they used Kodak's Contrast Index, something like Mortenson's Nine Negatives. Eventually Brooks wised up and went to Adams's great Zone System, which I'd picked up the minute I left Brooks.
I use to laugh at the amateurs who "pushed" negatives by over-souping film they'd under-exposed. They never got it that Exposure = Density and Development = Contrast. If they'd had an inkling of the ol' Ansel's Zone System, they'd've turned out decent prints. Instead of the high-contrast stuff that showed zip in the shadows.
Only recently I sold off about $6,000 worth of Pentax 6x7s. System included two bodies with pentaprisms, a sackful of lenses, big Sunpak with a snap-on handle which attached to the Pentax, etc etc etc. Got about 10 cents on the dollar for the whole shebang.
And bought a Leicasonic.
Never heard of it?
The Leica D-LUX 3 is made by Panasonic, and is exactly the same as Panasonic's Lumix FZ-150 ... except it has that little round Leica trademark. And except that the Leica costs $950. I paid $435 for my Lumix!
And I figured how to use the Zone System on digital: In extremely high- or low-contrast conditions, which confuse the camera's automatic settings, manually adjust the exposure (per your spot metered evaluation of high and low Zones) and use PhotoShop contrast to manipulate the result. (Ansel Adams lives!)
Anyway, this is all just by way of blah blah blah.
I'll get back to you and Romano once I've finished RTFM ... Classroom In A Book. May also look into Muvipix by your pal Steve Grisetti.
So far my results, per Romano's direction, are spot on. (Again, much thanks to you, Romano, if you're tuned in.)
Creating the animations is a tedious chore (it's all done one frame at a time) but really very effective. I don't believe that I could get quite the same results using Premiere's built-in effects. Will try to post the results somewhere, so you can see the result of your good advice ... yours and especially Romano's.
Back to work,