Premiere Pro CS5-5.5 Troubleshooting Legal Notices
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Avid® EDL Manager User's Guide
Avid® EDL Manager User’s Guide ™ make manage move | media Avid ® Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Media Composer Family, including Media Composer, Avid Xpress, Symphony Avid products or portions thereof are protected by one or more of the following United States Patents: 4,970,663; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,584,006; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,134,607; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191; 6,928,187; 6,933,948; 6,961,801; 7,043,058; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; D392,269; D396,853; D398,912. -
Capabilities of the Horchow Auditorium and the Orientation
Performance Capabilities of Horchow Auditorium and Atrium at the Dallas Museum of Art Horchow Auditorium Capacity and Stage: The auditorium seats 333 people (with a 12 removable chair option in the back), maxing out the capacity at 345). The stage is 45’ X 18’and the screen is 27’ X 14’. A height adjustable podium, microphone, podium clock and light are standard equipment available. Installed/Available Equipment Sound: Lighting: 24 channel sound board 24 fixed lights 4 stage monitors (with up to 4 Mixes) 5 movers (these give a wide array of lighting looks) 6 hardwired microphones 4 wireless lavaliere microphones 2 handheld wireless microphones (with headphone option) 9-foot Steinway Concert Grand Piano 3 Bose towers (these have been requested by Acoustic performers before and work very well) Music stands Projection Panasonic PTRQ32 4K 20,000 Lumen Laser Projector Preferred Video Formats in Horchow Blu Ray DVD Apple ProRes 4:2:2 Standard in a .mov wrapper H.264 in a .mov wrapper Formats we can use, but are not optimal MPEG-1/2 Dirac / VC-2 DivX® (1/2/3/4/5/6) MJPEG (A/B) MPEG-4 ASP WMV 1/2 XviD WMV 3 / WMV-9 / VC-1 3ivX D4 Sorenson 1/3 H.261/H.263 / H.263i DV H.264 / MPEG-4 AVC On2 VP3/VP5/VP6 Cinepak Indeo Video v3 (IV32) Theora Real Video (1/2/3/4) Atrium Capacity and Stage: The Atrium seats up to 500 people (chair rental required). The stage available to be installed in the Atrium is 16’ x 12’ x 1’. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
User Manual 1
Pro Maintenance Tools User Manual 1 Pro Maintenance Tools User Manual Pro Maintenance Tools (formerly Pro Maintenance Tools) is a utility pack designed to keep your Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony or Adobe Premiere Pro for Mac running at optimal performance and help resolve problems when they arise. The suite contains tools to repair corrupt QuickTime movies, locate corrupt clips within a timeline, diagnose crash logs, manage plugins, repair Final Cut Pro projects, manage autosaves, salvage movie data from corrupt files, and much more. Show-stopping problems always seem to occur on a deadline - Pro Maintenance Tools is designed to rapidly diagnose and fix common issues, ensuring users get back on track as quickly as possible. With the Task Scheduler utility, maintenance tasks can even be scheduled to run in the background for convenience. Pro Maintenance Tools includes: Autosave Manager – Flexible autosave management offering automatic archival or removal based on criteria including age and file size. Supports Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony and Adobe Premiere Pro Compressor Repair – Repairs the fragile links between Compressor and Qmaster. Supports Final Cut Studio and Final Cut Pro X Corrupt Clip Finder – Automatically locates corrupt clips in a project, saving hours of manual Last updated Aug 18, 2014 Pro Maintenance Tools User Manual 2 reconnecting. Supports Avid MXF with a third-party plugin such as MXF4Mac. Supports Final Cut Studio, Final Cut Pro X, Avid Media Composer, Avid Symphony and Adobe Premiere Pro Crash Analyzer – Analyzes your editing application crash logs, attempts to diagnose the cause of the crash and suggests ways to solve the problem. -
(A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
Adobe Trademark Database for General Distribution
Adobe Trademark List for General Distribution As of May 17, 2021 Please refer to the Permissions and trademark guidelines on our company web site and to the publication Adobe Trademark Guidelines for third parties who license, use or refer to Adobe trademarks for specific information on proper trademark usage. Along with this database (and future updates), they are available from our company web site at: https://www.adobe.com/legal/permissions/trademarks.html Unless you are licensed by Adobe under a specific licensing program agreement or equivalent authorization, use of Adobe logos, such as the Adobe corporate logo or an Adobe product logo, is not allowed. You may qualify for use of certain logos under the programs offered through Partnering with Adobe. Please contact your Adobe representative for applicable guidelines, or learn more about logo usage on our website: https://www.adobe.com/legal/permissions.html Referring to Adobe products Use the full name of the product at its first and most prominent mention (for example, “Adobe Photoshop” in first reference, not “Photoshop”). See the “Preferred use” column below to see how each product should be referenced. Unless specifically noted, abbreviations and acronyms should not be used to refer to Adobe products or trademarks. Attribution statements Marking trademarks with ® or TM symbols is not required, but please include an attribution statement, which may appear in small, but still legible, print, when using any Adobe trademarks in any published materials—typically with other legal lines such as a copyright notice at the end of a document, on the copyright page of a book or manual, or on the legal information page of a website. -
User Manual 16.3 MB
Welcome to DaVinci Resolve 8 The world’s most powerful color correction now on Linux and Mac! DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci is the name behind more feature films, television commercials, documentaries, television production and music videos than any other grading system. When you’re in a room full of demanding clients with conflicting ideas, colorists know that DaVinci Resolve has the quality, real time performance, creative features, and powerful control panel you need to work fast! DaVinci Resolve is now available for both Mac OS X and the clustered super computer power of Linux! CONTENTS USER MANUAL DaVinci Resolve 8 Chapter 1 Introduction 14 Introducing DaVinci Resolve 15 What’s New in DaVinci Resolve 8 16 Chapter 2 System Setup 22 Media Storage Volumes 23 Video Capture Hardware 24 Control Panel Type 24 Chapter 3 Quick Start Guide 26 Quick Start Project 34 Chapter 4 Control Panels 36 Chapter 5 Getting Started 40 Starting DaVinci Resolve 41 User Login Screen 41 Login To An Existing User 41 Exiting Resolve 41 Creating A New User 42 Deleting An Existing User 42 Changing A User Password 43 Multiple Database Support 43 Selecting the Database 43 Creating a New Database 44 Create a New Database Image 45 Remote Database Server 45 Optimizing a Database 45 Backing up a Database 45 Restoring a Database 45 Chapter 6 Configuration 48 The User List 50 The Configuration List 51 Modifying -
Charlie Fisher » User Experience Architect & Creative Director » Anothercreative.Com
Charlie Fisher » User Experience Architect & Creative Director » anothercreative.com Overview White space innovator and idea excavator: building a career dancing the line between brands, technology, people and experiences. I’ve succeeded in becoming an indispensable and profitable asset anywhere I’ve been both agency side and in-house. Over the past 14 years I’ve delivered meaningful, elegant solutions to complex situations by joining people, crushing convention, and bridging the gaps that separate the different media channels. In short, I design what works and I forecast what the next best experience will be. Primary Skillsets • Information Architecture/UX Design • Interaction Design (Desktop & Mobile) • Creative/Art Direction/Visual Design • Web and Mobile Design/Development • Ideation and Strategy • Environment Design (Physical Spaces) • Motion Design • SEO and SEM • Experiential Marketing Experience 12/2013 – Present Associate Creative Director, User Experience (contract) » SapientNitro, Minneapolis/MN Currently engaged at SapientNitro developing UX strategies for the largest private health insurer in the world – United Health Group. The immediate scope of work includes user experience and re-platforming considerations for uhc.com, while developing patterns and strategies to encompass the entire United Healthcare ecosystem. • Developed content and navigation strategies for uhc.com replatforming and redesign activities • Lead heuristic evaluations of existing uhc.com interactions and patterns. • Guided business leaders to ongoing content development and implementation strategies • Informed and collaborated with Visusal Design teams to deliver world class creative experiences informed by data- driven ux design. 3/2013 – 12/2013 Senior User Experience Designer (contract) » US Bank, Minneapolis/MN Working with and leading ad-hoc UX teams through the design experience with a focus on emerging mobile trends in app and WAP touch experiences. -
Adobe Premiere Elements 11 Classroom in a Book
Adobe® Premiere® Elements 11 CLASSROOM IN A BOOK® The official training workbook from Adobe Systems DVD-ROM Included for Windows and Mac OS Adobe® Premiere® Elements 11 Classroom in a Book® © 2013 Adobe Systems Incorporated and its licensors. All rights reserved. If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. -
Christine Steele, Practitioner and Trainer Extraordinaire. Real-World Experience with Adobe Creative Cloud and Adobe Premiere Pro CC Fuels Training Expertise
Adobe Customer Story Christine Steele, practitioner and trainer extraordinaire. Real-world experience with Adobe Creative Cloud and Adobe Premiere Pro CC fuels training expertise. “It’s fun not only talking about Adobe Creative Cloud but also sharing the reason I’m using these tools, which is to share universal truths by creating stories and getting that content out there.” Christine Steele, Director and Lead Editor, Steele Pictures Studios SOLUTION RESULTS Adobe Creative Cloud GLOBAL SUPPORT QUALIFIED INSTRUCTION BROADCAST SWITCH VALUABLE EXPERTISE Provide boots-on-the-ground Incorporate real-world Helped editors at ABC and Contribute editing expertise video content to clients experience into training the BBC transition to Adobe to documentary projects around the world sessions video apps Adobe Customer Story Steele Pictures Studios Established in 2006 Los Angeles, California http://steelepictures.com CHALLENGES • Relate real-world experience to audiences • Assist broadcasters with smooth transition to new NLE • Add value to documentary projects with editing and directing skills Hands-on expertise yields smooth transitions Steele Pictures Studios is based in Los Angeles, California, but its Founder Christine Steele works all over “This last year I helped approximately the world. Together with other directors, producers, and editors she creates broadcast television content, 120 editors and producers at ABC feature films for theatrical release, and web content. Documentary work is one of her main passions, and luckily it is also the bread and butter of much of her professional work. In addition to producing content, transition to Adobe Premiere Pro she also loves teaching and training others in the field on how to get the most from the video apps in from Final Cut Pro.” Adobe Creative Cloud. -
Codec Is a Portmanteau of Either
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
Adobe® Creative Cloud and NVIDIA Gpus Solution Overview
CREATE INTUITIVELY. PERFORM FASTER. ® ® NVIDIA GPUs POWER ADOBE CREATIVE CLOUD . CC ADOBE OVERVIEW SOLUTION Get blazing-fast performance and smooth interactivity in your most challenging professional video and design projects. Nothing accelerates Adobe Creative Cloud tools and meet the demand of 4K and beyond. It’s a powerful the Adobe Anywhere solution like NVIDIA® Quadro® partnership that ensures that creative artists, and Tesla® GPUs. web designers, professional photographers, and Together, NVIDIA and Adobe deliver unprecedented video editors always get the best features and performance and acceleration to help creative performance—when and where they’re needed. professionals build a streamlined workflow and ADOBE CC | Solution Overview | SEP14 ADOBE® PREMIERE® PRO CC DO YOUR BEST WORK FASTER WITH REAL-TIME VIDEO EDITING. At the heart of Adobe Premiere Pro CC is the GPU- ROCKET card. Other new GPU-enhanced features accelerated Adobe Mercury Playback Engine, co- include faster Feathered Masking and the ability to developed by Adobe and NVIDIA. It leverages NVIDIA apply Mercury Playback features universally with GPUs and NVIDIA CUDA® to deliver interactive, Master Clips Effects. And if you’re a Mac user, a real-time editing and up to 23x1 faster performance. simple upgrade to the NVIDIA CUDA driver can often result in up to 30% faster Premiere Pro CC The new high-speed GPU debayerer accelerates 4K 1 RED camera files, eliminating the need for a RED performance! ADOBE PREMIERE PRO CC WITH NVIDIA GPUs Adobe Mercury Playback Engine 2x Quadro K6000 23.3 2x Quadro K5200 23.3 2x Quadro K4200 21.0 Quadro K6000 19.4 Quadro K5200 15.0 2x Quadro K2200 13.1 Quadro K4200 12.9 Quadro K2200 7.6 Dual Xeon 1.0 0X 5X 10X 15X 20X 25X Performance Acceleration System Configuration: Adobe Premiere Pro CC, Windows 7 – 64-bit, Dual Intel Xeon E5 2687W 3.10GHz CPUs [16 total cores].