Onlocation CS5

erniediaz

erniediaz

Well-known member
Hello friends, I wonder if any body knows about the new version of this magnific tool.

I hope it will support ethernet 1Gb conections or SDI single or dual.

Wich cameras can be connected directly?

Will the interface will show all the info in the "video assist" monitor ?

Thanks for the info.

Regards.:Drogar-Happy(DBG):
 
erdiaz said:
Hello friends, I wonder if any body knows about the new version of this magnific tool.

I hope it will support ethernet 1Gb conections or SDI single or dual.

Wich cameras can be connected directly?

Will the interface will show all the info in the "video assist" monitor ?

Thanks for the info.

Regards.:Drogar-Happy(DBG):
Click to expand...

Anybody???
 
Don't know for certain, but based on the information I have so far, I wouldn't expect it to support SDI or ethernet 1 GB. There are new support workflows for the whole lot of removable media camcorders. As for directly connecting, any firewire camcorder (DV) will still be supported.

Nothing really new happening there except the flash camcorders and similar having some kind of support...
 
erdiaz said:
Hello friends, I wonder if any body knows about the new version of this magnific tool.

I hope it will support ethernet 1Gb conections or SDI single or dual.

Wich cameras can be connected directly?

Will the interface will show all the info in the "video assist" monitor ?

Thanks for the info.

Regards.:Drogar-Happy(DBG):
Click to expand...

- No - no ethernet or SDI support

- any DV or HDV camera can connect to it through firewire

- other then some touch up work, the interface is mostly the same.

The real change to CS5 for OL is added support for tapeless cameras and the addition of support for Adobe Story.
 
Eric's correct that two of the major enhancements in OL CS5 are support for tapeless cameras and integration with Adobe Story. Those two feature sets converge under an umbrella we've termed "file-based workflow." The basic workflow is as follows:
1) ingest a script from Adobe Story, which populates your project with a placeholder for each scene.
2) assuming that you'll be shooting more than one shot per scene, break the scenes out to the shot level, using the aptly named Break Out Scene feature. Customize the metadata of the shots as appropriate.
3) After recording your clips and transferring the content to the computer, merge clips with placeholders. We've provided two means of doing this. Which one is right for you on a given project depends on whether you want to log any take-level information while shooting or to set comment markers for specific takes.
* If so, then use the Auto-Matching workflow. This workflow is involved enough to warrant a thread of its own, but here are the fundamentals: (a) either sync the date/time on your camera(s) to the computer, or enter the camera's date/time in OL [Edit>Camera Date Time...], (b) at any time while recording each clip, timestamp a placeholder for that take by selecting a placeholder or clip for the correct shot and clicking the "Create Timestamped Placeholder" button, and (c) after transferring content to the computer, browse to it in the Media Browser, select the clips, and click the Import and Auto-Match button. When you click OK in the Auto-Match dialog, the app will look for a placeholder with a timestamps that matches one and only one clip. Yes, that's the executive summary. We know it's a bit of work, but given that by definition there's no live connection between the computer and the camera while shooting, it's the cleanest workflow we came up with. Rather than dwelling on the steps involved, consider the payoff: filebased content infused with take-level metadata, with the work of matching and merging handled automatically!
* if you're not interested in take-level metadata or comment markers, then use the Manual Merge workflow: In this case, there's nothing to do during the shoot. After transferring clips to the computer, browse to them in Media Browser, select all the takes of a given shot, and drag-n-drop them onto a placeholder or clip for that shot.

Tapeless formats that are now supported: DVCPRO/MXF/P2, XDCAM EX, and AVCHD.

Also in this vein, you can now run imported content through the analysis process to write the audio peaks in the scrub bar and flag audio pops and clipping and video alerts.

Beyond the file-based workflow feature cluster, we've made a number of other enhancements in CS5:
1. Improved interoperability with Premiere Pro: You can now save a sub-project in OL, then go to PPRO and select the olproj file in its Media Browser. This shows you only the clips that you included in the sub-project. The advantage is that you can use the filtering and sorting capabilities in OL's Project Panel to narrow down to the content of interest.
2. Comment Marker panel for viewing your markers in a list, with the added bonus of "Turbo-Comments"--strings that you enter in advance and then insert on the fly. (Think sporting events: "Highlight Reel," "Home TD," "Visitor TD" ...) Also, markers can now be moved by clicking and dragging and by a context menu command in the CM Panel. Oh, and you can add markers to imported clips.
3. In/Out Points: Set them in OL, see them in PPRO...
4. Audio meters: the old OL meters have been replaced by the superior ones "borrowed" from Soundbooth
5. Set Poster Frame command to select the thumbnail image for a clip
6. Link Media command for reconnecting to content that got moved.
7. keyboard navigation in the shot list/project panel: Tab and Enter to get around
8. Export Shot List as .csv, for viewing in other apps (even on your smart phone!) and for printing
9. Export/Import of custom metadata schemas. You could create your own schemas in CS4, but they're pretty well hidden. So we provided the means to conveniently copy schemas from one computer to another.
10. Camera switching: This capability was present in DV Rack and OL CS3 but got dropped in OL CS4. It's back. (note: you cannot switch while recording. That's by design. Also, if you're switching between SD and HD sources, you may need to restart the app. That's a bug :-( )

While we accomplished a lot in CS5, a few highly desirable features didn't make it in. This thread highlights one of them: Capture Card Support. We know how much many of you wanted this, and we worked long and hard to give it to you. We were oh so close, but we did not get across the finish line on that front. As disappointed as you may be, trust that we are too. It's not for lack of awareness or effort.
The other no-go that I might as well put on the table: full-screen video. (Sorry, Barry.)Unfortunately, the developer who would have tackled this was the same one who was under the gun to deliver capture card support.
 
OnLoMark said:
Tapeless formats that are now supported: DVCPRO/MXF/P2, XDCAM EX, and AVCHD.
Click to expand...


One of the things that was not clear to me, was how to deal with AVCHD and the Panasonic Lumix formatting of 24p in a 60i stream. There didn't seem to be any obvious way to perform the inverse telecine.

Is there an option I missed???
 
I'm afraid my fluency in video-ese is not what it should be. I know what I need to know for the OL feature set, but not a lot beyond that. "Inverse telecine" cruised a good 10-12' over my head, which is a fair indication that there's no specific feature for performing anything in that regard.
If you dumb it down for me, I may be able to respond more meaningfully.

Btw, CS5.0 has a couple of 24P bugs that we already have fixed in a patch which should be released in the near future.
 
OnLoPark, while we have you here, and since we're talking CS5, can you answer this question?

Does Premiere CS5 handle the colorspace of the new Canon 5DII/7D/T2i correctly? ie it doesn't expect 16-235 color range and squash the highlights?

I'm not sure that was worded correctly, I just know that when converting using previous other methods, ie Mediastream to DNxHD, the hightlights would get squashed (dimmed).

Thanks for any info, -cp
 
OnLoMark said:
I'm afraid my fluency in video-ese is not what it should be. I know what I need to know for the OL feature set, but not a lot beyond that. "Inverse telecine" cruised a good 10-12' over my head, which is a fair indication that there's no specific feature for performing anything in that regard.
If you dumb it down for me, I may be able to respond more meaningfully.

Btw, CS5.0 has a couple of 24P bugs that we already have fixed in a patch which should be released in the near future.
Click to expand...

Inverse telecine, is taking the 3:2 pulldown 'out' of a 60i stream, resulting in a 23.997 fps stream.

After Effects has had the ability to remove this from 60i material for a number of years, as the DVX100 uses DV format, to encode 24 fps material (let's not quibble on the decimal points...).

Unfortunately, Panasonic does this in the GH-1 camera as well, for 24 fps video. It is packaged in a 60i stream, in the AVCHD file.

At the moment external tools are used to remove the 3:2 pulldown, and generate a stream that is 24p.

At the moment, it doesn't look like CS5 Premiere/OnLocation does do the 3:2 pulldown removal. So, even though AVCHD is 'natively' editable, that is the MTS files can be directly used by those two programs, the material appears to be dealt with only as a 60i stream.

The problem there is that there are artifacts that are pretty visible when playing the material, usually in little comb like lines on the edges of objects in motion, corresponding to the interlaced fields being displayed.

I'll see if I can come up with some screen shots to depict this in more detail.
 
Will OL CS5 have a separate serial number/activation, so I can install it on a laptop for use in the field without using up one of my activations for the entire CS5 suite?
 
You must log in or register to reply here.
Back
Top