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gothamboy2000

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About gothamboy2000

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  1. I SWEAR I didn't bribe him to say that... Just when I think I have that program figured out, I talk to Brian Maffit for 60 seconds. Pretty much puts my knowledge base back in perspective. Hey Rick! Speaking of which, I'm looking for a job... hehe... Danielsan--> daniel AT downloadculture DOT com
  2. Hmm... Well, I've used it a fair bit and used to work for the After Effects team so I might be able to help. Rendering speed can be affected by a DOZEN things (render preview resolution, processing speed, size of the source footage, how many frames you skip during a preview, how much of the frame you render during preview, etc.) In short, second only perhaps to 3-D rendering applications, After Effects can bring even the beefiest machines to their knees. Motion tracking got a great deal faster in 6.5 (orders of magnitude faster in fact) and, though I left just before version 7 was released, I assume that's been increased further. Naturally, the Open GL functionality makes 3-D work jaw-droppingly faster provided the card supports what you're trying to render. As for hardware recommendations, I don't know that a mega-machine is necessary for simple color correction tasks, but certainly if you'll be blending footage into a 3-D show intro with mulitple layers, that rendering time will take a hit. As for the Grid Iron software that's included, it increases rendering speed by distributing rendering across multiple machines. AE has, for years, supported multi-machine processing, but required that the footage be cloned across all machines in the network. Grid Iron's X-Factor plug in uses the much-touted grid rendering approach allowing multi-processor rendering WITHOUT the distribution of footage. By all means, post any specific you want to know. I may need to dust off my AE skills a bit but I can certainly ask the team if an issue arises I can't answer. Daniel Brown Recovering Adobe Dude www.adobeevangelists.com
  3. Let's see... * Mac vs. Win - It's a wash as far as I'm concerned since Photoshop runs on both of them. The Windows world is more compatible, but the Mac - when you intall a new application - doesn't have 4 SEPARATE and DIFFERENT files all named "Setup". * GIMP / LINUX - The charm (and the curse) of Linux is that there is no central support for it. There is a community, but no one entity really defines where it goes next. People have been asking for years for a Linux version of Photoshop (along with several other tools) but in my personal experience, it's been 3 people a year. On the server side of things, the market is much different, but in the photography and graphic design world, where people are scared of Windows, Linux is an even greater reach. (Tell a designer they need to compile an application before they run it and see what happens.) * Camera RAW - I'm walking a fine line here between what I can and cannot talk about but it's my understanding that the camera manufacturers aren't terribly open about their file formats. It allows for "protected" pictures (which is why Photoshop doesn't write BACK to the RAW format) but it also gives them a revenue source if no one else can read their files (before we created Camera Raw of course...) Hence, you're not likely to find the kind of raw file support we have in Photoshop anywhere else. Daniel Brown Sr. Evangelist > Digital Video Adobe Systems Inc.
  4. Free to $999. Quite a jump... Tryouts for our apps are also freely available and you can have Premiere Pro, Encore DVD, Audition, and After Effects for $200 less than Avid DV Express til' the end of November. Just a thought... Daniel Brown Sr. Evangelist > Adobe Systems Inc.
  5. Let's see here... I'm assuming the current pricing of VV has to do with the announcement of Encore some time ago. Indeed, Premiere Pro can burn directly to a DVD without Encore (though menu creation, multiple languages, subtitles, motion menus, animated transitions, etc. require Encore DVD). In short, you can produce "dailies" with Premiere Pro directly to DVD. As for pricing, the Adobe Video Collection is $799 for Premiere Pro, Encore DVD, Audition, and After Effects. Soo... VV offers about 2/5ths the solution for 1/2 the price. Encore really only makes sense if you use Photoshop to create menus for your DVD's since you don't need to flatten, merge, render, tweak, adjust, or otherwise contort Photoshop files before bringing them into Encore. (This varies a bit with Photoshop CS since it is about 6 months newer than Encore. We know that multiple-depth nested layers in Photoshop CS confuse Encore, but Photoshop 7's entire rendering engine is built into Encore so it can internally render everything else.) With regard to 6.5, it was a wonderful version (and still remains a popular solution on the Mac side) but Premiere Pro - frankly - blows 6.5 completely out of the water. Mutiple, nested timelines - Break longer segments up into smaller chunks. Or, simply use the hierarchical relationship to apply filters and effects to multiple clips as if they were one. Built-in color correction - Built by the Color Finesse folks incidentally... As for transformations and other layering/compositing effects, Premiere Pro has adopted the After Effects rendering engine. Hence, you can now simply place a clip in track 1, a clip in track 2, and with the clip in track 2 selected, simply change the scale and position attributes (and keyframes) to what you want. Changing the keyframes over time will produce a moving picture in picture or animated overlay. A Premiere Pro project saved with effects, transitions, PIP's, etc. all open directly inside of Adobe After Effects. You can season to taste from there. Premiere Pro also outputs everything you're doing through the firewire port so you can preview what's happening on a monitor in real-time. (No need to render to see results.) This expands on the 6.5 "Real-time Preview" functionality by enabling FASTER machines rather than simply accomodating slower ones. As for 5.1 AC-3 encoding, sounds like the apps are on-par with each other... BUt it's interesting... Our 5.1 license we offer as an add-on (it's actually a web-based activation) for $199. Which means... If Vegas worked a similar deal, then they're presumably paying for the license themselves and building it into the price of the application which would make their app $199 or so. Not sure they can sustain development for that price but you never know. F.Y.I. Daniel Brown Sr. Evangelist > Adobe Systems Inc. http://www.adobeevangelists.com
  6. Sadly, can't comment much more on the details, but initial feedback has been good. "Stunning" I think was one word. Stay tuned... Daniel Brown Sr. Evangelist, Adobe Systems Inc.
  7. We showed off a few new things at NAB... I'm not saying they're in the next version, I'm just saying we showed it... http://www.digitalvideoediting.com/2003/04.../cw_nabday2.htm Intriguing... Daniel Brown Sr. Evangelist, Digital Video Adobe Systems Inc.
  8. Hmm... Much as I love the Jasc guys, I don't know that much about their app and its support for Photoshop plug-ins. As just about anyone can tell ya, the word "compatible" has quite a range of meaning. If Photoshop is too big a financial bite, you might look at Elements. Elements is built off of the Photoshop code base so compatibility is far less of an issue. Daniel Brown Sr. Evangelist, DV & Motion Graphics Adobe Systems Inc.
  9. LZW is lossless and this is true no matter what format you apply it to. However, some data will compress better than others. The only downside, of course, is that you don't get the 20:1 compression ratios you get with JPEG. I'm at a bit of a disadvantage in this conversation since I have yet to successfully take an underwater photo that looks any different compressed with even moderate JPEG compression. As for the camera raw extraction, again, we have publicly shown this plug-in though specific support for cameras has not been mentioned. I'd keep an eye on Adobe.com in the coming days... Daniel Brown Sr. Evangelist, Adobe Systems Inc.
  10. There's one important ingredient you didn't mention... HOW you're embedding the QuickTime file in your page. QT, as with most other video formats, has a number of parameters that should be passed to the plug-in. These should be in an embed/object tag. If you're using Adobg GoLive, simply drag the video into the page and GL will generate all of the parameter tags for you. (Other applications such as Dreamweaver will do this, but you first need to use the pliug-in manager to download the QT plug-in, make sure you register the product and your copy of the download manager, have DW install the plug-in, then relaunch the application. I'm not sure about MS FrontPage.) You can also cheat by checking out the source code of any page on Apple's QT site for some hints about how to do it. Daniel Brown Sr. Evangelist, DV & Motion Graphics Adobe Systems Inc.
  11. Hmm... Okay, the raw formats are a little more complicated than that... Raw is very different from TIFF. TIFF is file format while Raw (depending on which manufacturer you're talking about but they do generally the same thing) captures the information into a whole different world of format. I'd need a Photoshop engineer to translate exactly what it does but the important point is that adjustments can be made to the file BEFORE translation out of their color space. (What they're doing is even a bit more advanced than 16-bit because of where they put a bulk of the data.) As a few people have hinted, raw formats do not currently open directly into Photoshop but we have publicly shown technology that suggests this might be possible soon. Stay tuned... Daniel Brown Sr. Evangelist, DV and Digital Imaging Adobe Systems Inc.
  12. Hi Eric! I think you must be the one and same Eric that James Watt was raving about while we were in Bonaire. He said we'd have a lot to talk about and it sounds like that's true. ANYWAY, the product that ships with Premiere is DVDIt! LE from Sonic Solutions. It's not a professional-grade product with scripting options and the like, but it's enough to get your video content onto a DVD with menus (which you can build in Photoshop and import) and get something usable. I believe they have information about it on their web site. I can also publicly mention that Adobe licensed some DVD authoring technology about 6 months ago if memory serves... I'll let you all come to your own conclusions from that information... Daniel Brown > Adobe Systems Inc.
  13. Hi again James, We certainly understand your pain (along with that of everyone who uses higher-end cameras capable of raw formats). Again, can't comment much other than what the press release said and what my Julieanne Kost demoed at the keynote at Photo Plus East. I hear the distinct sound of salivating going on... Daniel Brown > Adobe Systems Inc.
  14. Based on the response we've received, this does sound like something people will want. Can't comment beyond that, but stay tuned... Daniel Brown > Adobe Systems Inc.
  15. "as far as i understand the difference between AutoLevels and AutoColor is that AutoLevels is using another threshold value for the number of existing pixels to consider, i.e. looking at the histograms of an AutoLeveled photo shows that there are existing pixels outside the new level values. AutoColor sets the new values exactly to the point, where existing pixels start." Hi Sabine, The difference between the two has to do with the gamma point. Note that, if you're in the Levels dialog box, there is an "Auto" button. If you go into the "Options" within the levels dialog box, you'll see a bunch of... well... options. Each of the options listed are the "ingredients" for the three auto functions. Again, no substitute for a human eye (and for having a pretty good knowledge about how channels work and what they contain), but it's pretty good. Daniel Brown Sr. Evangelist, Adobe Systems Inc. danielb@adobe.com www.adobeevangelists.com
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