Roto Multi spots in 1 comp

Did I understand this video correctly?
http://www.peachpit.com/podcasts/episode.aspx?e=eb0dc392-6e0c-4028-817d-cec647ffcc29
It stated that if I have multiple spots to be Roto'd I can work in one comp? Via the grey drag bar? ( I think I just place mu cursor on the TL in my Layer window to set a new spot?) Correct me if I am mistaken please.
I have two spots to roto, one for about 2 seconds the other for about 1 second with a gap of 2 seconds between the both of them.
Should I just do that all in one Pre Comp? OR use two different comps?
Thanks
NC

Depends on the footage, I guess, but yes, Rotobrush can have multiple independent spans - if you place a new initial key/ stroke outside the propagation span of an existing stroke, ther analysis will be independent. How well that works in a given scenario realyl depends...
Mylenium

Similar Messages

Use of multi applications and interface comp controller in Leave(any WDP)

Hi Frndz,
AM new to ESS/MSS, now am modifying standard ESS leave proj while doing this i want make clear myself about somethings ..those r
1) What is the use(purpose) creating multi applications(LeaveRequest,LeaveRequestAdmin,LeaveRequestApprover,TeamView) in a WDP (for ex:ESS leave) proj.
2) And i came to know that interface controller is playing big role in this , i need a exact use of interface controller, if posible with any basic example, i gone through SDN blogs but i did't get clear picture about interface controller.
Regards
Rajesh

Refer help.sap.com for exact defination
In brief
LeaveRequest > For requesting Leaves by the Employee ie enduser
LeaveRequestAdmin > to solve error in Leave request application, not available, Need to use PTARQ
LeaveRequestApprover> to approve Leave requests like a manager
TeamView : to see other employees absences in ones org unit

How do I preview overprinting white ink (spot color) or a tint thereof?

how do I preview overprinting white ink (spot color) or a tint thereof?

Illustrator's overprint preview always assumes the translucency of offset litho inks. It doesn't accommodate per ink opacity.
And it's not an impossibiliy; it's just not a feature of Illustrator. Photoshop does it in multi-channel mode quite handily. That's one big reason why many who design for screen printing build their multi spot color projects in Photoshop, even when the nature of the artwork itself might argue in favor of a vector drawing program.
For example, imagine artwork involving reptile skin. A piece designed for screen printing might call for laying down a dark green ink first, overprinting a yellow-green for highlights, and overprinting a white for speculars on top of that. And if set up correctly in Photoshop, Photoshop's composite would preview it quite well. But Illustrator's Overprint Preview won't, and neither will its normal Preview.
You could cause Illustrator's normal Preview to simulate the end results by applying a slight transparency effect to objects which have the lighter overprinting inks. But that is not the same thing as being able to specify the opacity of the ink which a spot color Swatch represents. Doing it would wreck the separations as Illustrator flattens the transparency effect.
So it is what it is: If you want to preview an overprinting opaque ink in Illustrator, you just have to go with the normal Preview (not Overprint Preview) which previews overprinting objects as if they knockout, even when they don't.
JET

My Exif is not picking up Metering Mode

my DPP can read the metering mode file in raw and the jpg thats been processed in APE6. but if you open the jpg in APE6 it cannot read the metering mode. The Exif information on metering mode is missing in my galley images see here http://www.birdforum.net/gallery/showgallery.php/cat/500/ppuser/56094 but other posters in this gallery using the same camera 50d I can see there metering mode, can you help me with this problem thanks Terry

There's something about where canon writes that data that photoshop/elements don't like.
Interesting. I looked at Metering Mode in one of my Canon G9 pics, and PSE 7 Organizer reports it as "Pattern", while ZoomBrowser EX reports it as "Evaluative".   I identified the cause of the discrepancy, but it doesn't sound like what Terry is experiencing.
Terry, I'd be interesting in tracking down this problem, so if you have the time, perhaps you could post the two sample photos to pixentral.com.
Details on Pattern versus Evaluative Metering Mode:
Using Exiftool, I tracked down the discrepancy: PSE and most other tools report the standard EXIF fields, while ZoomBrowser EX reports the contents of the Canon-proprietary MakerNotes. The EXIF MeteringMode and MakerNotes MeteringMode have different sets of values:
EXIF:                          Unknown, Average, Center-weighted average, Spot, Multi-spot, Pattern, Partial
Canon MakerNotes:     Default, Average, Center-weighted average, Spot, Evaluative, Partial
Perhaps Canon judges that the EXIF Pattern is approximately the same as its Evaluative?

Nikon EXIF data incomplete

If I look at the EXIF data for a file in iView Media Pro I can see what metering was used for a shot (i.e. matrix, program, spot, etc.). The same field in Aperture shows up with numerical values (0, 3, etc.). Is this a Nikon thing or a problem with Aperture?
PowerMac G5 Mac OS X (10.4.6)

Yeah, the same thing happens to me with my Nikon D50 and the latest Aperture version. I guess Aperture doesn't recognise some special Nikon EXIFs.
If you abosolutely depend on this feature you may "translate" the EXIF information using EXIFutils (U$D30) from http://www.hugsan.com/EXIFutils .
You can, for example change all numerica data to actual metering mode text: "Matrix, Spot, etc..." But please be aware that EXIFutils are command-line utilities that need some typing / scripting.
Otherwise we'll have to wait for Apple to fix this.
These are the standard values and corresponding metering modes.
==========================================
meter-mode ERWS 9207 Metering Mode
Abbrev:Num
average:1
centre:2
spot:3
multi-spot:4
multi-segment:5
partial:6
other: 255
==========================================
Good luck,
Michael
MacBook Pro Core Duo 2.16 Mac OS X (10.4.7) 2 Gig RAM

My Tamron 10-24 is listed as Unknown Lens

Any way to fix this?
Details are:
Lightroom version: 5.3 [938183]
Operating system: Windows 8 Business Edition
Version: 6.2 [9200]
Application architecture: x64
System architecture: x64
Camera Pentax K5 WIth latest Firmware 1.16
Shooting Format - DNG
Info from EXIF tool:
Lens Type                       : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspherical [IF]
Lens ID                         : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspherical [IF]
Amy Ideas? I've copied the full output of exif tool below in case other lines help someone smarter than me in this are.
Thanks, Jim
ExifTool Version Number         : 9.54
File Name                       : _K5_0175.DNG
Directory                       : D:/Photos/2014/2014-03-23
File Size                       : 25 MB
File Modification Date/Time     : 2014:03:23 09:49:46-07:00
File Access Date/Time           : 2014:03:23 10:48:26-07:00
File Creation Date/Time         : 2014:03:23 10:48:26-07:00
File Permissions                : rw-rw-rw-
File Type                       : DNG
MIME Type                       : image/x-adobe-dng
Exif Byte Order                 : Big-endian (Motorola, MM)
Make                            : PENTAX
Camera Model Name               : PENTAX K-5
Orientation                     : Horizontal (normal)
Software                        : K-5 Ver 1.16
Modify Date                     : 2014:03:23 09:49:44
Artist                          : JIM CRUICKSHANK
Image Width                     : 4992
Image Height                    : 3284
Bits Per Sample                 : 14
Compression                     : JPEG
Photometric Interpretation      : Color Filter Array
Strip Offsets                   : 162048
Samples Per Pixel               : 1
Rows Per Strip                  : 3284
Strip Byte Counts               : 24742950
X Resolution                    : 300
Y Resolution                    : 300
Planar Configuration            : Chunky
Resolution Unit                 : inches
CFA Repeat Pattern Dim          : 2 2
CFA Pattern 2                   : 2 1 1 0
CFA Layout                      : Rectangular
Black Level Repeat Dim          : 2 2
Black Level                     : 0 0 0 0
White Level                     : 15864
Default Scale                   : 1 1
Default Crop Origin             : 22 10
Default Crop Size               : 4928 3264
Bayer Green Split               : 0
Anti Alias Strength             : 1
Subfile Type                    : Reduced-resolution image
Primary Chromaticities          : 0.64 0.33 0.21 0.71 0.15 0.06
Y Cb Cr Coefficients            : 0.299 0.587 0.114
Y Cb Cr Sub Sampling            : YCbCr4:2:2 (2 1)
Y Cb Cr Positioning             : Co-sited
Copyright                       : Jim Cruickshank
Exposure Time                   : 1/50
F Number                        : 4.5
Exposure Program                : Creative (Slow speed)
Date/Time Original              : 2014:03:23 09:49:44
Create Date                     : 2014:03:23 09:49:44
Flash                           : Off, Did not fire
Focal Length                    : 24.0 mm
Sensing Method                  : One-chip color area
Custom Rendered                 : Normal
Exposure Mode                   : Auto
Focal Length In 35mm Format     : 36 mm
Scene Capture Type              : Standard
Subject Distance Range          : Close
GPS Version ID                  : 2.3.0.0
DNG Version                     : 1.1.0.0
DNG Backward Version            : 1.1.0.0
Unique Camera Model             : PENTAX K-5
Color Matrix 1                  : 0.963470459 -0.4771881104 -0.07902526855 -0.34
95941162 0.9834136963 0.4286651611 -0.01779174805 0.03717041016 0.6799163818
Color Matrix 2                  : 0.8302001953 -0.2508850098 -0.1111907959 -0.39
95361328 1.230117798 0.1880645752 -0.09773254395 0.1713256836 0.6513366699
Analog Balance                  : 1 1 1
As Shot Neutral                 : 0.4848484848 1 0.5541125541
Baseline Exposure               : -0.5466766357
Baseline Noise                  : 1
Baseline Sharpness              : 1
Linear Response Limit           : 1
Pentax Version                  : 7.0.0.0
Pentax Model Type               : 0
Preview Image Size              : 640x480
Preview Image Length            : 33984
Preview Image Start             : 35680
Pentax Model ID                 : K-5
Date                            : 2014:03:23
Time                            : 09:49:44
Quality                         : RAW
Flash Mode                      : Off, Did not fire; Internal
Focus Mode                      : AF-S (Focus-priority)
AF Point Selected               : Auto
ISO                             : 3200
Exposure Compensation           : 0
Metering Mode                   : Multi-segment
Auto Bracketing                 : 0 EV, No Extended Bracket
White Balance                   : Auto
Saturation                      : Normal
Contrast                        : Med High
Sharpness                       : Med Hard
DSP Firmware Version            : 1.16.26.29
CPU Firmware Version            : 1.16.26.29
Effective LV                    : 5.1
Picture Mode                    : Auto Program (Shallow DOF); 1/3 EV steps
Drive Mode                      : Single-frame; No Timer; Shutter Button; Single
Exposure
Sensor Size                     : 24.122 x 15.976 mm
Color Space                     : Adobe RGB
Image Area Offset               : 22 10
Raw Image Size                  : 4928x3264
Preview Image Borders           : 28 28 0 0
Lens Type                       : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspheri
cal [IF]
Camera Temperature              : 16 C
AE Lock                         : Off
Noise Reduction                 : Off
Flash Exposure Comp             : 0
Image Tone                      : Bright
SR Result                       : Stabilized
Shake Reduction                 : On (7)
SR Half Press Time              : 1.72 s
SR Focal Length                 : 24 mm
Shutter Count                   : 10161
Faces Detected                  : 0
Face Position                   : 0 0
Raw Development Process         : 8 (K-5,K-5II,K-5IIs)
Hue                             : Normal
White Balance Auto Adjustment   : On
Tungsten AWB                    : Subtle Correction
Dynamic Range Expansion         : Off
World Time Location             : Hometown
Hometown DST                    : No
Destination DST                 : No
Hometown City                   : Vancouver
Destination City                : Vancouver
High/Low Key Adj                : 0
Contrast Highlight              : 0
Contrast Shadow                 : 0
Contrast Highlight/Shadow Adj   : Off
Fine Sharpness                  : Off; Normal
High ISO Noise Reduction        : Medium; Active (Medium)
AF Adjustment                   : 0
Monochrome Filter Effect        : None
Monochrome Toning               : None
Face Detect                     : Off; 0 faces detected
Face Detect Frame Size          : 0 0
Shadow Correction               : Off
ISO Auto Parameters             : Standard
Distortion Correction           : Off
Chromatic Aberration Correction : Off
Vignetting Correction           : Off
Bleach Bypass Toning            : Off
Black Point                     : 0 0 0 0
White Point                     : 16896 8192 8192 14784
Picture Mode 2                  : Auto PICT
Program Line                    : MTF
E-Dial In Program               : Tv or Av
Aperture Ring Use               : Permitted
Flash Options                   : Normal
Metering Mode 2                 : Multi-segment
AF Point Mode                   : Auto
Focus Mode 2                    : AF-S
AF Point Selected 2             : Auto
ISO Floor                       : 100
Drive Mode 2                    : Single-frame
Exposure Bracket Step Size      : 0.3
Bracket Shot Number             : n/a
White Balance Set               : Auto
Multiple Exposure Set           : Off
Link AE To AF Point             : On
ISO Auto                        : On
AE Exposure Time                : 1/47
AE Aperture                     : 4.6
AE ISO                          : 2934
AE Xv                           : 0
AEB Xv                          : 0
AE Min Exposure Time            : 1/7723
AE Program Mode                 : Shallow DOF Program
AE Aperture Steps               : 0
AE Max Aperture                 : 4.4
AE Max Aperture 2               : 4.6
AE Min Aperture                 : 32
AE Metering Mode                : Multi-segment
Flash Exposure Comp. Setting    : 0
Level Indicator                 : 252
Nominal Max Aperture            : 4.8
Nominal Min Aperture            : 32
Max Aperture                    : 4.6
AE Metering Segments            : 2.5 2.8 4.1 4.4 4.6 4.9 5.0 5.0 4.8 4.6 4.1 3.
3 3.1 3.9 4.3 3.8 4.9 4.5 4.8 4.3 3.9 3.9 4.4 3.9 3.9 3.9 4.1 5.5 5.6 5.3 5.0 4.
5 4.3 3.5 2.9 3.5 3.9 3.9 4.1 3.9 3.9 4.3 4.3 3.8 2.8 1.9 3.1 3.8 4.8 5.0 4.9 4.
0 4.1 3.4 4.0 3.4 3.1 3.3 3.5 3.9 4.8 3.9 2.8 2.8 2.5 3.3 3.0 2.9 3.4 3.6 2.6 2.
4 2.1 2.1 2.5 2.3 2.8
Flash Metering Segments         : 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
Slave Flash Metering Segments   : 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
Manufacture Date                : 2010:10:18
Production Code                 : 2.1
Internal Serial Number          : 17038
Power Source                    : Body Battery
Body Battery State              : Full
Body Battery Voltage 1          : 7.58 V
Body Battery Voltage 2          : 7.25 V
Body Battery Voltage 3          : 7.84 V
Body Battery Voltage 4          : 7.45 V
AF Predictor                    : -1
AF Defocus                      : 0
AF Integration Time             : 30 ms
AF Points In Focus              : Center (horizontal)
Kelvin WB Daylight              : 5205 0 2.088134765625 1.4703369140625
Kelvin WB 01                    : 2500 0 1.140869140625 2.8192138671875
Kelvin WB 02                    : 2630 0 1.2059326171875 2.6483154296875
Kelvin WB 03                    : 2780 0 1.2783203125 2.4813232421875
Kelvin WB 04                    : 2940 0 1.352294921875 2.331787109375
Kelvin WB 05                    : 3130 0 1.435791015625 2.1839599609375
Kelvin WB 06                    : 3330 0 1.5185546875 2.054931640625
Kelvin WB 07                    : 3570 0 1.6116943359375 1.9281005859375
Kelvin WB 08                    : 3850 0 1.711669921875 1.8084716796875
Kelvin WB 09                    : 4170 0 1.8157958984375 1.69970703125
Kelvin WB 10                    : 4550 0 1.9266357421875 1.597900390625
Kelvin WB 11                    : 5000 0 2.0418701171875 1.504638671875
Kelvin WB 12                    : 5560 0 2.164794921875 1.416748046875
Kelvin WB 13                    : 6250 0 2.29052734375 1.3365478515625
Kelvin WB 14                    : 7140 0 2.4205322265625 1.26318359375
Kelvin WB 15                    : 8330 0 2.5526123046875 1.196044921875
Kelvin WB 16                    : 10000 0 2.6844482421875 1.13525390625
WB Shift AB                     : 0
WB Shift GM                     : 0
EV Steps                        : 1/3 EV Steps
Sensitivity Steps               : As EV Steps
Camera Orientation              : Horizontal (normal)
Serial Number                   : 3842570
Level Orientation               : Horizontal (normal)
Composition Adjust              : Off
Roll Angle                      : 2
Pitch Angle                     : -6.5
Composition Adjust X            : 0
Composition Adjust Y            : 0
Composition Adjust Rotation     : 0
WB RGGB Levels Daylight         : 17257 8192 8192 13072
WB RGGB Levels Shade            : 20620 8192 8192 9756
WB RGGB Levels Cloudy           : 18594 8192 8192 11177
WB RGGB Levels Tungsten         : 10371 8192 8192 24250
WB RGGB Levels Fluorescent D    : 21309 8192 8192 12598
WB RGGB Levels Fluorescent N    : 18270 8192 8192 14019
WB RGGB Levels Fluorescent W    : 16609 8192 8192 17334
WB RGGB Levels Flash            : 19567 8192 8192 12030
WB RGGB Levels Fluorescent L    : 13895 8192 8192 21692
WB RGGB Levels User Selected    : 17257 8192 8192 13072
Contrast Detect AF Area         : 0 0 0 0
Camera Temperature 2            : 16.1 C
Camera Temperature 3            : 16.1 C
Camera Temperature 4            : 16 C
Camera Temperature 5            : 16 C
Calibration Illuminant 1        : Standard Light A
Calibration Illuminant 2        : D65
Aperture                        : 4.5
CFA Pattern                     : [Blue,Green][Green,Red]
Image Size                      : 4992x3284
Lens ID                         : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspherical [IF]
Preview Image                   : (Binary data 33984 bytes, use -b option to ext
ract)
Scale Factor To 35 mm Equivalent: 1.5
Shutter Speed                   : 1/50
Circle Of Confusion             : 0.020 mm
Field Of View                   : 53.1 deg
Focal Length                    : 24.0 mm (35 mm equivalent: 36.0 mm)
Hyperfocal Distance             : 6.39 m
Light Value                     : 5.0
-- press any key --

Thanks Tony,
Yes the supplied profile works - in my test shots it corrects distortion and vignetting nicely - but it is a pain to have to pick the proffile by hand for each shot.
My real issue is Lightroom not correctly identifying the lens and listing it as "Unknown" in the meta data. Was hoping there was a way to teach lightroom to recognize it - or a config file to hack to make it recognize the lens.
For testing puposes I changed the raw format of my Pentax from DNG to PEF but got the saame result.
Anyone else have ideas?
Jim

Multitrack editing

I record multiple tracks of a piece simultaneously. It could be a chamber orchestra + solo singer + organ or a big band or whatever. First one take, then another, and another. Then the perhaps intro separately etc. Obviously there is no click track so timing varies slightly from take to take. I now have loads of regions on multiple tracks that should be reduced to one version of a piece, still multi track.
The comping feature is far to primitive since it operates on one track rather than multiple and the takes on that track must be exactly aligned at all points.
What is the preferred way to do this i Logic?

You could also not use the folders, and simply create multiple tracks each referencing
the same channel strips. This, way,all takes will be visible in front of you at all times.
I've tried to do that and found rather crude ways to achieve the task. One region at the time... There must be better ways. There are couple of initial hurdles. In order to replace the middle section of one take with the middle section of another take I need to find the proper "out" point of take 1 and the matching "in" point of take 2. I'd like to slide the regions of take 2 over those of take 1 looking at both until the waveforms match. Then cut and remove the unwanted extra from each, crossfade. Then perhaps slide the splicepoint with continuously adjusted crossfades back and forth a bit to find the optimal point. Then move on to next splice.
When I slide a region over another it becomes 100% translucent. Is there a way to make it semitranslucent so that I can see both waveforms simultaneously?
Is there a better way?

Comping multi-Track multi-take Drums

Hi everyone,
In the last days I recorded a set of drum tracks. I'm looking for a good way to comp them so that a crash that was hit in take 1 can fade out while take 2 is already starting to play. I thought that might be possible to do wit hthe comping feature but I know think I was wrong about that, it obviously wasnt intended to do that.
So I unpacked the comps resultung in multiple tracks with only one channel strip (which is what I want). Unfortunately, only one of the unpacked tracks can be heared when i hit play. The regions on the other tracks are greyed out, also displaying a blue circle on the top left of the region box.
However, when I take the very same region out of the "bin"-box and put it in this second track it works! I could do this every time now but obviously I am quite sure that I'm missing something here. And help is greatly appreciated.

quakenul wrote:
Well, turns out those regions where muted. Who knew you could even do that, I didn't. Thanks anway.
Well, I did! But you answered your own question very quickly, so you didn't need us to tell you about muting... And we didn't have the time to react...
But you are not exactly the first to have stumbled over unintended muting... that default keycommand 'M' (mute/unmute selected region) is just too easy to hit unnoticed, when thumbing the spacebar...
regards, Erik.

Multi-comp setup. New laptop kicks

I have a Linksys Router(WRT110) hardwired to my main computer(desktop) with the extra antennae setup on my step-dads desktop in another room. These have worked fine, I have an iPod Touch and it's connected as well with no problems. Sister has a Dell laptop running Vista and is fine with connection. Within the last 2 weeks I purchased an HP Pavillion running Win 7. When I turn on my laptop and the wireless activates it kicks my sister off and I lose the router on main comp. I've had the map open when I've turned on my laptop and the connection from hardwired computer to router goes offline followed by the internet connection. When I'm alone and nobody else is on comps I can connect with little problems. I've set the wireless properties of my laptop to work with my routers security. Is it just that there are too many computers or should this be working? If too many comps, any systems recommended for handling 2desks/2laps and an iPod?
Thank you

It's not too many computers. Try using DHCP Reservation to ensure you're computers are not attempting to share the same IP address.

WRT54G Ver. 6 multi comp trouble :(

I have the router software set up on one of my comps and it runs fine but when i put the disk in the other computer it gets to the part where it checks computer settings then asks for the password and i enter the right password (changed it mulltiple times to be sure) then it just repeats the check of the comp settings and asks for the password again over and over... Please help me... Both pc's are wired in...
Message Edited by Daclivont on 12-23-2007 01:21 PM
Message Edited by Daclivont on 12-23-2007 01:28 PM

It seems an issue with Password ..... you can do one thing reset the router for few seconds ....while holding the router unplug & replug the power cable for few seconds .....
See if the default password admin is working or not .....

Multi node 11i inst, adstrtal.sh will start only comp. installed in a node?

Environement:
Version:11.5.10.2
Node1 -- DB & ConcManager
Node2-- All other apps components
NO Shared APPL_TOP
If we use adstrtal.sh on Node2, will it exclude the ConManager startup process on Node2 ?
or
should we use individual startup scripts to start each components in Node2?

If we use adstrtal.sh on Node2, will it exclude the ConManager startup process on Node2 ? Correct.
should we use individual startup scripts to start each components in Node2?No need, you can use adstrtal.sh to start the corresponding application services on each node (run adstrtal.sh on Node 2 to start Web, Forms on this node, and run adstrtal.sh on Node 1 to start CM (and other services) on this node).

What do you think of the new multi-takes feature?

So the new multi-take feature seems to be the way it's done in ProTools - they layer on top of one another and you can click on the region to select the appropriate take.
Personally, that had confused me a bit, because things were hidden. I liked seeing everything I had, so I really liked the way Logic worked it, allowing multiple tracks tied to the same audio object. I would then comp takes by separating regions and leaving good takes unmuted. That way I can still see the takes that I didn't use for the comp. Make sense?
I'm curious what you guys think are pros and cons of the two approaches.

After using it for an hour it s totally unusable for me.
When I comp I often have to nudge bits of audio to get the feel right.
You cannot do this at all and also auditioning the takes is also very painful.
So is this for clicktrack-guided single tracks then? Can this be used when you record simultaneous multiple tracks (think orchestra with a main stereo pair, spots on woodwinds and several others - say 12 tracks at once). Then another take of the whole piece (without click means slightly different tempo in places). Then another... Can the comping feature assemble the best pieces from each take like cut/splice a virtual multitrack tape? Or is this feature something more limited?
L

Multi-record / spread table...moveable fields in designer generated form

Good morning all;
I hope you are doing good...
Imagine a multi-record block layout with it's overflow property set to spread-table to accomodate 10 varchar2(25) fields. Now, of the hundreds of users working with this generated form, not one of them wants to see the fields in the same order on the screen.
What i would like to do is generate the form from designer so that a user could 'drag'n drop' let say, field #10 to the field #2 spot on the screen. Something like windows explorer where you can move the 'Size' column around so it is viewable without having to use the spread-table bar at the bottom of the screen...
Any idea on how to generate this form from designer?
Thank you and wish me luck!

I don't know a solution, but I think a solution could be easier found if it was a read-only block. You did not specify that. Then maybe you could dynamically change the query behind the block.
Good luck, Paul.

Unable to perform multi audio tracks mixing with Audio Mixer

How do you get a simple multi track mix with the Premier Pro 1.5 Audio Mixer?
I got 2 audio clips, each sitting at the start of its own separate track (Audio 1 and Audio 2). I just want to mix them into the Master track. Simple enough.
So I go to the Audio Mixer. Position the CTI at the start of the tracks and hit the red RECORD button. The red spot starts blinking. Then I hit the START/STOP button expecting the tracks to start mixing into the Master track. Instead, I get this error message
"PLAYER ERROR: You cannot record without enabling at least one track for recording."
I get the same problem if I try the mix onto a submix track.
What am I missing? I combed through the Premiere Pro User Guide and J. Rosenberg's Premiere Pro Studio Techniques but to no avail.
Thanks for any help.
JB.

Jacques, I havn't seen 1.5 for a while, so I need to stress that what I'm about to say is more of an educated guess linked to a rough memory.
Each audio track in the mixer has a small chip (tickbox in 1.5??) that you click in order to enable that track for recording. In CS3 it's a little microphone.
Having said that, I DON'T think that's going to give you what you want, as the intention of the recording functionality in PP is to record audio FROM AN EXTERNAL SOURCE (like a microphone) straight to an audio track, say, when doing a Voice Over for some video.
You can't "mix down" to the master, as the master is not a track per se. It's just a "final" level control. The master will always be the sum of the active tracks, and THAT'S what will be rendered in the final output.
You can still "live mix" your audio with the faders, it's just that those movements get recorded as keyframes on each of the tracks you modify (including, BTW, the Master).
The advantage to this workflow is that every fader move you make is infinitley editable... a small error when riding the faders can easily be fixed by dragging keyframes.
HTH.
Matthew

A Better Way to do Multi-Camera

I am able to do multi-camera edits, synchonization and playback but I suspect I am doing it inefficiently. All of the tutorials I've seen start with only the clips that will participate in the multi-cam ALONE in a sequence. And I know all the steps from there. But what I don't know is how to efficiently proceed if there are may clips in a sequence and I only want to do multi-cam on one stack of clips in the sequence. For instance, let's say that I have 10 clips on the timeline. All are on video and audio tracks 1. But the 6th clip also has multi-cam clips on video and audio tracks 2-4. What I currently do is
1. copy these clips (only the clips located in the 6th spot tracks 1-4 on the timeline but not the entire sequence)
2. paste them to a new sequence (sequence #2)
3. create another new sequence (sequence #3)
4. drag sequence #2 into sequence #3)
I know all the multi-cam steps after this.
The question is: is this the most efficient way to do this when I'm starting with a sequence that has clips on them other than the ones that I want to participate in multi-cam. I'm creating 2 new sequences to accomplish this. Can it be done in only one new sequence?

I edit a lot of things the same way you are talking about when you have many clips on video 1 and then just a few where there are mulitple cameras.
If there are only 2 shots (Video 1 and Video 2) here is what I do.
1. Line up Video 2 over top of Video 1 in the proper place.
2. Right click on the clip in Video 2 and select "Unlink" (Unlinking will unlink the audio and video. You do this so that when you cut video 2 you do not also cut the audio)
3. Place the CTI so that it is on your Video 2 Clip and then double click on that clip. This will open the clip in your Source Monitor.
4. BEFORE moving the CTI, Right Click on the tab of your Program Monitor and select "Gang Source and Program".
5. Now turn off the eyeball on Video 2
6. When you scrub through the timeline you will see both your video in both the Program and Source monitors moving. Unfortuantely you cannot just play the video and watch both. You can play it and watch the Program monitor and when you stop the Source monitor will catch up.
7. Use the Cut tool to cut out spots of Video 2 so you can see Video 1.
8. One tip is that if you are going to cut the very first part of Video 2 the best thing to do is to get the CTI where you want Video 2 to start and then use your selection tool to just trim it to that spot. If you cut it and delete it you will loos your video in the source monitor. Not that big of a deal because all you have to do is Double Click on it again and re-select Gange Source and Program, but it saves you from having to mess with it.
If I have 3 or more video clips I just highlight them all and right click and select "Nest". That will make your new sequence for you with all your clips you selected. Just then do a normal Multi Cam edit.
Hope this helps some!
Phil

Roto Multi spots in 1 comp

Similar Messages

Maybe you are looking for