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oops

Yes, it was sad. Maxim Tomato stock went down 82% this morning in Tokyo

Thanks! please do share the RUclips links, it really helps us out! :)

Great recipe, the kids very much enjoyed it

Can’t go wrong with chili!!

Much like yourself. Thanks for writing in.

Unfortunately he’s stuck with the cone until his leg heals

Go Riders! We've done some cool stuff with the CFL on our sports show, GO/NITRO (www.gonitro.tv)

Thanks. Good eye! Russian rat snakes are not very common in large parts of North America, and many people mistakenly identify them as other subspecies of snake. I only know of two breeders in Canada and one of them is stark raving mad. (Not the one Apep came from.) Apep was born in Montreal. :-)

pretty much

yup.

pretty much!

Means a show is sold to individual markets to make up the equivalent network reach with multiple network affiliates rather than sold to just one network.

@skycron i guess that happed to the Mama's family show and I wasn't sure what it ment, then I looked it up and still didn't haha, thanks for the info

Yeah, Mama’s Family technically did go into first run syndication after two seasons. Sometimes a network show gets cancelled but is then put back into production as first run.

yes he is very sweet :)

You would select PAL but the process is the same.

I’ll say. But better it tastes like Oreos than dogshit

El problema con tu comentario es que nadie más está de acuerdo contigo ;-)

I’d stick to 708. It’s enough of a standard now you can probably safely drop 608. It generally ingests fine but you’re right, you do sometimes get bullshit alignment in different editors with Premiere’s encoding. Exporting captions is quite easy from Premiere, I should do a quick tutorial on it.

@@skycron Some stations still require us to deliver 608 and 708 though.

It’ll ingest at the station level and display properly regardless. The weird annoying formatting will only happen on the NLEs but it won’t be public facing for broadcast.

Yes, it will work with mixed audio, presuming your mixdown is stereo. All this does is make sure that your L and R channels are separate mono files (left being its own file and right being its own file). You don’t need to “convert” anything, this tutorial just splits your stereo file into two mono files for each channel.

@@skycron thank you for you fast replay 😊

Siamese are a unique breed psychologically and are known to be more intelligent / alert than traditional cat breeds (problem solving, reasoning, communication etc). They also have different fur. For this reason a lot of normal cat tips don’t really have the same consistency as they would with most breeds of cat - they are more dog like. Siamese can also be trained similarly to dogs to some degree unlike most cats.

she is super cute!

Very true, on all accounts. EBU R128 is a great specification - in my view it should be mandatory, but eh. Germany has always been ahead of the curve with broadcast specification and technology in general.

@@skycron maybe in broadcast but not in technology :D we have big problems in the digitalization. (Often bad internet) :D

It just reimported it, that’s all. It is probably showing your original subtitles in the project bin and showing the imported subtitles from your reimported MXF next to it. The UI/UX is a bit lousy in Premiere.

yep. he got a bath after too

Try watching the video.

I was looking for this for 10+ years. So, no. Not a chance.

Ça pourrait arriver! Nous avons toujours adoré travailler avec Steve, Eric et les garçons ! On a tourné cela y a longtemps, je crois que c'était une des premières choses que j'ai réalisé pour la télé québécoise ! Je suis content que vous ayez apprécié et que les gens regardent toujours ! -Cory

@@skycron c'est de la pure crème de musique j'adore tellement que trop !!

@@user-qr2gf1fx9w Vieux photos de tournage: www.flickr.com/photos/skycron/6985887386/

It does work. You missed a step. You need to make sure it is an MOV with Animation codec as your source, then do the conversion. cheers

Glad it helped! Technically it can be replicated in DaVinci but their export standards aren’t universal yet, so chances of passing network QC with a DaVinci generated file is 50/50 even if you do everything right. That’s going to change pretty soon though because of how good it is and frankly Adobe could use a good kick in the ass.

@@skycron totally agree with this haha. Okay noted - I'll move it into premiere for the time being. Thanks again man.

You bet!

I wouldn’t rely on Avid’s calculator, as it doesn’t account for a 3:2 pulldown. It only calculates in absolute frames which 29.97 by its very nature does not have (that being absolute frames). As such, any calculation you’d get from Avid would actually be off.

@skycron no. I've been cutting shows on avid for decades. Your confusing what I'm asking you

Ah, the classic “I’ve been doing this for decades” response when the point is missed. That’s ok. Alright kids, teachable moment time. So, let’s try and set Mr. Froopy straight, shall we? The answer I gave you is correct. If you’ve been doing this for “decades”, which I have, you really should already know this about AVID. We supply masters to all the major US networks. Far from me confusing anything; you are confusing the difference between a pulldown (concrete frames vs interlaced) and how that affects the counter. Because TC timing is always delivered in absolute frames, and broadcast is a 3:2 pulldown from 23.976 to 29.97, Avid’s guess with its calculator is always going to be off because it only estimates in absolute frames rather than interlaced, so there is no point in using it. In this case, and as stated, your question isn’t relevant to your issue because it isn’t applicable to a pulldown. Without trying to be mean here, if you don’t know the difference between the two, is the “I’ve been doing this for decades” ego flex really helping your position? Indeed, if you’ve been doing this for “decades”, you should already know better. That gives you less of an excuse not to know this, not more; it’s not something to be proud of much less pound one’s own chest over. In the words of the immortal Robin Williams in his brilliant cameo in Law and Order (albeit playing a bad guy) - “I don’t care how smart your computer is. A guess…is still a guess.” Thanks for writing in.

Technically you can but generally it won’t be accepted for broadcast.

Hi. For final master, broadcasters won’t accept a standalone multichannel audio file (where one file has 8 channels wrapped within it). The way Premiere is parsing the files is correct. Further, if the post house tried to use a multichannel audio file within an AVID generated MXF it would also fail because Snell/Ross/Grass Valley/etc. Playouts don’t always recognize these sorts of composite files by the time they’re an MXF. I think you are tearing your hair out unnecessarily. Do your edit, let it import into 8 standalone channels as it should, then export to MXF following. This whole re-wrap, etc. stuff is not necessary for a QC pass master for any network (ABC, CBS, NBC, FOX, etc.)

Actually, if you can believe it, PAL is actually also upper field first, if it’s in HD. However PAL SD would be lower field first.

​@@skycron​wow thanks man this is helping me out a lot. So how would I fix a 29.97 so it becomes 25 frames without any hiccups

Are you referring to a video that has already had a reverse telecine (reverse pulldown) applied and is now 29.97? Or are you referring to 29.97 native video (like news with a super smooth look). Those are two very different problems. You wouldn’t use a 3:2 process for either of these. For the first scenario, you would use a reverse pulldown and the second one you would need to use something like Twixtor to redraw the frames.

@@skycron it's the second one! I'm a videographer in the Netherlands and for a music video I'm working on, someone sent me drone footage that was natively recorded at 29.97 fps (No surprise I'm annoyed about this...). The clip is being edited in 25 fps. My camera recorded in 50 natively so there was no problem except for the drone footage which I now need to convert to 25 fps. I'll look into the suggestion you mentioned!

Yeah. You’ll want to use Twixtor Pro. It’s a plugin, and will redraw the frames smoothly to whatever framerate you want. It’s a few hundred Euro but it’ll work very well. It is processor heavy and so it is slow. I recommend pre-cutting the clips you want in the native frame rate (in this case 29.97), exporting them and then just Twixtoring those. If you can stick the drone operator with a bill, so much the better.