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I come back from a scooter rally, a band gig, or a vacation trip with a whole bunch of still pictures and video files files from my GoPro's and Sony camcorder. I then struggle to make order out of chaos:
I divvy the files up by 'event', the long ride, the gymkhana, the day at the beach, the gig at the corner bar, etc. I make a folder for each event and throw a date in to the name as many are similar and to sequence them.
In each event folder I have three sub folders: "files from source" where I put everything that pertains to the event, "project files" where I put the clips and stills I chose to use, the .PDS files and 'produced' files, etc. Lastly, I have a 'Final Video" folder where the finished product goes.
Is this over kill? Anyone have a better/more efficient way of managing files?
OK, so it is not a bug, it's a feature. I don't quite see the point but pressing on...
My modus operandi, then, is to complete all my editing before I try to Produce.
If I still need to change the movie after Producing it, I can either (1) assign a new name for the Produced file, e.g. movie2, movie3, then later clean up the old stuff from the folder or (2) exit out of PD12, delete movie1, go back in to PD12, make my changes, and re-create movie1.
I am tending towards option (2) as it keeps the folder clean and PD12 gets a change to sort itself out between attempts.
Sorry Adrian, I think it is a bug. If I do a Save Project as... and give it a name, e.g. proj1.pds, then do a Save project As and select the same name, proj1.pds, it says "Proj1.pds already exists. Do you want to replace it?
All I ask is that PD12 does the same thing for a produced file.
If I 'produce' a movie with a certain filename, e.g. movie1, and then try to produce it a second time due to a content change, PD12 will not allow me to use the same filename. It wants me to put it someplace else or use a different name, e.g. movie2. Neither can I delete movie1 from Windows as it is 'in use'.
Other programs ask if I want to replace the existing file. How can I make PD12 do the same?
I understand that PD12 is preventing me from losing earlier work, but I am a big boy now and can manage these things myself. It is a pain having to go in later and delete/rename to get back to movie1.
This is a good thread. Thanks for your input, Jaime. As a newbie myself I find all these formats confusing.
How noticeable is the difference between MPEG-2 and MPEG-4? I realize that each conversion does degrade the quality and that all this is inevitably a compromise, but will I see the difference upon replay through a DVD player into my telly?
I am converting VCR cassettes to digital using an EasyCap cable. It was cheap but seems to work. Is there any point in using a higher quality format?
Seems to me if you want to sell your output buy the Ultimate Suite.
I believe the end user license for this product still states: "for personal and non-commercial use", which is a bit of a contradiction.
This very subject came up not too long ago in the forum.
Wait, wait. "A bit of a contradiction" At what point do we see the Terms of Service? If I go to the sales page, see "professional" (or whatever) and lay down my bucks, then as I install this thing, I see the TOS? Do I get my money back if I want to use the program for commercial purposes?
To continue the songwriter analogy, the moment I finish writing the greatest country song ever written and lay my pencil down on the paper, it is deemed to be 'published' and hence is covered by the copyright rules. However, in order to be able to prove to the world that this marvelous work is mine and mine alone, I can send it, and an MP3 disk of it, off to the Library of Congress copyright folks. They in turn will issue my a certificate of copyright.
Now if one of you chaps were to play my song and record it on your new album, you must pay me, in advance, something like $0.091 per copy made of that track (not sold - made). This is managed by, if I remember correctly, The Harry Fox Agency. If you play this song at a live gig (and you do not need my OK to play it) then the venue (or you, if they renege) must pay what I think is called a mechanical license. This is managed by ASCAP and BMI.
When we made our CD, nowhere in the process was there any kind of license for the MP3 technology, the use of ProTools to edit the sound tracks, or any whisper from the Blackfeet Indians for the use of the pencil that they made.
So. Are there any comparable organizations that track the use of these codecs?
I am not a lawyer, but surely, it is a reasonably assumption that when the camera manufacturers obtain the necessary permissions to use whatever technology goes into them there is an implicit expectation that someone, somewhere will use the product in a professional manner. Ditto for the software.
As a musician and would-be song writer I fully sympathize with a codec writer wanting compensation for his efforts. However, even a song copyright enters the public domain after a while (albeit a long while - 70 years after the copyright holders death). It seems to me that this whole subject needs some serious, world-wide consideration. After all, when one buys a motorcar there is no imposition as to commercial or non-commercial use even though said vehicle is crammed with patented parts. (Yes, yes, I realize that copyrights and patents are not the same).
Even my copy of MS Word is designated 'non-commercial use'. Does that mean I cannot use it to write a song that I subsequently sell?
I am not sure how to describe this in words. Is it possible with PD 11 to make a split screen mirror image effect similar to that seen on TV ads and Top Gear, where an object approaches its mirror image and sort of merges in the middle?
I'd like to use this effect in my scooter rally videos.
I went for a ride on my Vespa the other day and shot some clips. Three from a rear-mounted camera - all OK. Three from a forward-face handle-bar mounted camera (both Hero 2). I left both cameras on and started and stopped the filming a couple of times. The first of the forward facing clips was fine; the other two were hazy. The haze was even all over the screen and right through the clip. Here is a brief sample:
The camera lenses and the GoPro case appeared clean. Oh, and I subsequently tested both cameras in the same case and neither exhibited any haze.
What helped on the Grand Canyon project was shooting or snapping signs that told me where I was. "You are here" is my friend. The daily review/edit/cull is a great idea Rob.
I am wondering if an RF choke on the mic cord, just before the camera, would do the trick. (An RF choke is that cylinder thingie one finds on some USB cords). One would have to be a dab had at soldering and fabricate a cord - or very adept at using a search engine.
Do y'all use any aids to help plan your video? Such as a word processor, a spreadsheet, something like Celtx?
For example, you are going on a trip to the shore, do you plan ahead of time what you will film? Loading the car, driving 3 hours along the highway, the beach, the pier, etc.
And how about stills?
When I first got my camcorder I tried just shooting everything in sight and then attempted to make a decent video in the edit. I now have tons of Grand Canyon clips and stills and have no idea what they show. There must be a better way.
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