Adobe’s official line on Snow Leopard compatibility

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Adobe

Adobe Creative Suite 4 Solutions and Mac OS X Snow Leopard

Q Are Adobe® Creative Suite® 4 products and components compatible with Mac OS X Snow Leopard (v10.6)?

A. Yes. Working closely with Apple, Adobe has tested and determined that our Adobe Creative Suite 4 products and components are compatible with Mac OS X Snow Leopard.

Q. Is Mac OS X Snow Leopard (v10.6) important to Adobe Creative Suite 4 customers?

A. Yes. Mac OS X Snow Leopard (v10.6) —the latest version of Apple’s operating system—delivers a productive computing experience for creative professionals. Adobe and Apple have worked together closely to test that Adobe Creative Suite 4 products and components run reliably and efficiently on Intel‐based systems running Mac OS X Snow Leopard (v10.6) with optimal performance and user experience. Please see below for known issues we have discovered in our testing. As with any new release of an operating system, there may be additional unexpected issues that arise that may not have been uncovered during our testing efforts.

Q. Will older versions of Adobe creative software—such as Adobe Creative Suite 3 or Macromedia® Studio 8 software—support Mac OS X Snow Leopard (v10.6)?

A. Older versions of Adobe creative software were not included in our testing efforts. While older Adobe and Macromedia applications may install and run on Mac OS X Snow Leopard (v10.6), they were designed, tested, and released to the public several years before this new operating system became available. You may therefore experience a variety of installation, stability, and reliability issues for which there is no resolution. Older versions of our creative software will not be updated to support Mac OS X Snow Leopard (v10.6).

Q. Will Adobe continue to test its Adobe CS4 applications on Mac OS X Snow Leopard (v10.6)?

A. Yes. Adobe sets high standards of quality, stability, and reliability for our professional products, and we worked closely with Apple to test that Creative Suite 4 products and components run on Mac OS X Snow Leopard (v10.6). Please see below for known issues we have discovered in our testing. As with any new release of an operating system, there may be additional unexpected issues that arise that may not have been uncovered during our testing efforts. If you encounter any issues, please report them by going to www.adobe.com/misc/bugreport.html and clicking “Report A Bug”. Please note that we do not respond to submissions, however we do review the information closely with the appropriate teams, and continue to test and monitor the user experience.

Q. Do any of the Adobe CS4 applications require updates to be compatible with Mac OS X Snow Leopard (v10.6)?

A. If you are running the latest updates for Creative Suite, Acrobat® software, and Adobe Reader® software, your software will operate on Snow Leopard (v10.6). However, please see below for known issues we have discovered in our testing. Please note that Acrobat users do need to have version 9.1 or later installed in order to produce Adobe PDF files on Snow Leopard (v10.6). Select the “PDF” button in the Print dialog and choose “Save as Adobe PDF” to access the new feature. You can visit www.adobe.com/support/downloads to monitor if and when any updates are posted, or search on the keyword “Snow Leopard” for more details.

Q. How do I install any required updates for Mac OS X Snow Leopard (v10.6) compatibility?

A. For Acrobat, users will need to update to version 9.1 or later to operate on Snow Leopard (v10.6). Updates for Acrobat and other Creative Suite products and components are made available through the Adobe Updater, a utility that is installed with Adobe products or components to manage the download and installation of updates for you. As long as the automated notification feature in Adobe Updater is turned on, you will be alerted automatically when the updates are available. You can then follow the onscreen instructions to download and install the updates. Alternatively, you can open the Adobe CS4 product or component that requires an update, choose Help > Updates to open the Adobe Updater, check all of the updates you want, and click Download and Install Updates. Lastly, you can also visit www.adobe.com/support/downloads to monitor when updates are posted, then download and install the updates for each relevant Adobe CS4 product or component.

Q. I am a volume licensing customer. How do I get updates for my Adobe CS4 products or components?

A. Adobe recommends following your company’s internal guidelines to manage updates. You may want to contact the IT or technical person who manages your Adobe licenses for information about your corporate policies on updating software. For volume licensing customers, information is available for IT managers on how to silently push installations of Adobe CS4 updates at http://kb2.adobe.com/cps/491/cpsid_49171.html. For individual users, there is an Adobe Updater (choose Help > Updates) to download and install updates for Adobe CS4 products and components for individual system updates.

Q. Are the trial versions of Adobe CS4 products and components compatible with Mac OS X Snow Leopard (v10.6)?

A. Yes. If a full version of an Adobe Creative Suite 4 product is compatible with Mac OS X Snow Leopard (v10.6), then the trial version of that product is compatible as well. The known issues described below also apply to the trial versions.

Q. Is Adobe aware of any major issues, bugs or odd user experiences when using Adobe CS4 products or components with Mac OS X Snow Leopard (v10.6)?

A. Adobe Creative Suite 4 solutions are designed to perform to the high standards and level of performance, quality and user experience our customers expect. In our testing, we did discover a few functional areas that display unusual user experiences. One involves a unique configuration running Adobe Creative Suite Infrastructure (CSI) update v1.0.1 on Mac OS X Snow Leopard (v10.6). Users may be unable to update their CSI Extensions via the Connections Panel. The cause is related to interaction between Creative Suite 4 products and Apple’s JavaTMRuntimeEnvironment(JRE)v.1.6. The update wil appear to be complete, but the user will again receive notification that the update is available at every update check interval. Users who have not installed the CSI update v1.0.1 will not be impacted, but they also will not receive notifications about available extension updates. Users who installed the CSI update v.1.0.1 and the corresponding extension updates prior to upgrading to Mac OS X Snow Leopard (v10.6) will also not be impacted by the issue. Adobe Extensions affected include the Connections panel itself, the KulerTM extension, Search for Help, and Share My Screen. Adobe plans to have an additional update for the CSI and related files as soon as possible. Our testing has also uncovered another issue involving Adobe Drive used with Adobe Version Cue® CS4 Server. At this time, Adobe Drive does not run on Snow Leopard (v10.6). For customers that are dependent on Adobe Drive and Adobe Version Cue, we recommend that they do not upgrade to Snow Leopard at this time. Please visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6).

Q. I use a number of plug‐ins with my current version of Creative Suite. Are these plug‐ins compatible with Creative Suite running Snow Leopard (v10.6)?

A. Adobe has conducted testing that has shown that some 3rd party plug‐ins are not compatible with Adobe After Effects® CS4 running on Snow Leopard (v10.6). Customers are encouraged to check plug‐in compatibility by contacting the plug‐in vendor before upgrading to Snow Leopard (v10.6). For third‐party products, contact the manufacturer for guidance on their support for Snow Leopard (v10.6).

Q: Is Adobe aware of any major issues, bugs or odd user experiences when using Acrobat or Adobe Reader with Mac OS X Snow Leopard (v10.6)?

A. Adobe has tested installing and running Adobe Reader 9.1 on Snow Leopard and has found a few issues. Customers will receive an “Invalid System Check” message when downloading and installing Adobe Reader with Snow Leopard in 64‐bit mode. To install Adobe Reader on Snow Leopard, download and run the installer with the operating system running in 32‐bit mode. Adobe Reader will then run in either 32‐bit or 64‐bit mode. Please note that older versions of Adobe Reader are not supporting Snow Leopard. Also, Acrobat and Adobe Reader will not view PDF files within Safari when running Snow Leopard in the default 64‐bit mode, but PDF files can be opened outside of the browser. PDF files can be viewed in‐line when running Safari in 32‐bit mode. Please visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6).

Q. Will Adobe offer technical support for its CS4 products and components running on Max OS X Snow Leopard (v10.6)? What about for older versions of Adobe’s Creative Suite software?

A. Adobe will support Creative Suite 4 software running with Snow Leopard according to its standard customer support policies. Older versions of Adobe Creative Suite software were not designed to run on Mac OS X Snow Leopard (v10.6), so you may experience issues installing and using the software for which there are no solutions. Please note that support for Creative Suite 3 applications is currently available through Adobe’s paid support program. Visit www.adobe.com/support to check the Adobe knowledgebase for the latest information related to Mac OS X Snow Leopard (v10.6), and for detailed information about our complimentary and paid support programs.

www.adobe.com

For all your video production needs in Scotland, get in touch with Small Video Productions

Fast stabilizer for FCP from Core Melt

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Core Melt

CoreMelt has released Lock & Load, a new video editing plugin for Final Cut Pro. It’s a stabilizer that the folks at CoreMelt say runs at six times the speed of Apple’s built-in stabilizer, Smoothcam.

Lock and load is capable of intelligently ignoring foreground motion, even on busy scenes or with dark backgrounds. No need to choose tracking points, as the plug-in intelligently analyzes the entire clip for you. With intelligent adaptive zoom, Lock & Load will automatically compensate for differing levels of movement and zoom in to remove edges.

It removes or smooths rotation and zoom changes as well as X and Y movement. Lock & Load analyses only the portion of the clip you select, so there’s no need to export and re-import long clips. It works with all kinds of footage, no “too much movement” errors.

The multithreaded motion analysis uses all processors on your system. Lock & Load offers a realtime preview of the smoothed clip without rendering.

Lock & Load normally retails for US$149. However, through Sept. 8 you can get it for $129. And if you already own CoreMelt Complete V2, you can buy Lock & Load for $99.

www.coremelt.com

For all your video production needs in Scotland, get in touch with Small Video Productions

Snow Leopard is out…28th August 09…full review next week !

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SnowLeopard-web

Remember Snow Leopard will only install onto an Intel based Mac…as you might have guessed HD Warrior will have a full review of the new operating system next week, assuming my programs still work !

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Larry Jordan’s Tip of the Day…Marking Audio Peaks

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Larry-Jordan-web

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Canon conceptual CF-35 with 35mm full frame sensor for SDoF

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CF-35-Aug09-web

The last camcorder to come from the Canon Professional stable was the Canon XL-H1s during April 2008…16 months ago…what are Canon playing at there is a need to fill a very large hole in the film like stable and your counterparts in the 35mm stills department have unearthed this hole with the introduction of the Canon 5D Mk11 and more recently the Canon 7D.

Are Canon VideoPro influenced by their stills department…I hope not. HDV is a dying format and a very poor one technically so Canon Professional must have an SDHC or a CF camcorder soon. The market is screaming out for a true video version of the 5D Mk11.

A camcorder that will take all your EF series lenses allowing shallow depth of field (SDoF)…Solid State (SDHC or CF)…2-4 tracks of audio with XLRs…Radical chip sensor not unlike the 21mp sensor found in the 5D Mk11 for that film look (SDoF) and good low light capabilities…A Hi Rez colour viewfinder as seen on the Sony EX-3… Proper shoulder mount would be an advantage as shoulder mounting camcorders are few and far between… Decent tripod mount.

I have made a similar plea a few months back hoping Canon would get the message.

For all your video production needs in Scotland, get in touch with Small Video Productions

Filming my son’s Wedding in Italy-Part Two EDITING

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Lauren & Pauls wed
Interestingly once I had loaded the footage off the JVC HM100 onto the video drive it worked as advertised straight onto the timeline without any rendering, now this is’nt the strange part but as I added various effects like “DV LOOKS” it took for ever to render and it also told me it was conforming Mpeg2 footage ? In the preferences it tells me the footage is XDCAM EX 1080 50i so what do I trust !
Do I hear a little vioce in my head… from my old boss Obewan Attkins “Look at the instructions…Phil, may the force be with you” At the end of the instruction book we are told…Video recording format : QT file format (Final Cut Pro) MP4 file format Video signals : 720p format MPEG-2 (8bit, 35/18.3 Mbps)    1080 format MPEG-2 (8bit, 35/25 Mbps).
So how did my HM700 review footage not give this grief, simple, I injested the footage through the AJA io HD and it transcoded it into ProRez. So a word of warning, JVC claim and they are 100% correct that your footage will indeed drop onto the Final Cut Pro timeline without the need for rendering but they don’t go on to tell you not to add any effects to your footage or it will take forever to render. I added a wide screen effect to the above 2 minutes and 47 seconds worth of footage and it took a good 20 minutes to render, appalling. Unless you ingest your footage via an AJA box or a Matrox box then beware of very long render times !
AJA don’t have the drivers ready yet for FCS-3 but Chuck informs me within another 2 weeks taking it to the first week in September.
The JVC HM100 was on the whole nice to use but it’s compactness fools you into a false sense of security and you tend to do a lot of hand held stuff when it would benefit from a tripod, so you end up with a lot of footage that is not as polished as it should be.

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Avid v Final Cut Pro-7

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FCP-7-v-Avid-web

If you are new to the arena of video editing, eventually the question will arise. Which software is better, Final Cut Pro or Avid? The question can be a complex one. Each application has an army of loyal enthusiasts. Although, I won’t take sides on this issue, here are some items to consider.
The Final Cut Studio Bundle
One major difference, that must be mentioned here, is you can not purchase Final Cut Pro as a stand alone software product. It now ships as Final Cut Studio. This means you will receive the following major software components.
Final Cut Pro
Motion
DVD Studio Pro
SoundTrack Pro
Livetype
Compressor
Cinema Tools
This bundle is hard to beat. Of course, good luck becoming an expert at all of the products. LiveType, for example, doesn’t even ship with a manual. You will have to print the .pdf.
My favorite program in this bundle, is the LiveType application. LiveType is a motion graphics program that handles text effects with ease. This application is amazingly simple, yet complex enough that you can really expand upon the templates provided.
For a wish list, the only two items that are missing from this entire bundle are:
No matte tracking ability, and no true 3D. I hope to see these features added with the next version of Final Cut Studio.
Avid Xpress Studio
So be fair, you would really need to compare Avid Technology’s version of their Studio bundle called Avid Xpress Studio to fairly compete. Of course, you must purchase the Studio package as an add-on. It does not come with the standard Avid Xpress software. The Studio Bundle ships with the following applications:
Avid Xpress HD
Marquee Title Tool
Pro Tools LE
Avid FX (Boris FX)
Avid 3D (A scaled down version of Softimage XSI)
Avid DVD (Sonic DVD)
Sorenson Compression Suite
Which bundle is better?
For the average consumer, The Final Cut Studio bundle is a little easier to handle. Although each application is feature rich, most editors will be able to figure out the basics.
For Avid’s Studio Bundle, the learning curve is much higher, especially when it comes to sound design, and special effects. You’ll notice Avid includes Avid 3D in the bundle. This is an entire industry within itself. Don’t expect to become an expert with the Avid Studio applications overnight.
Supported Platforms
When your purchase that Avid software, you receive MAC and PC software. I must warn you to pay special attention to the system requirements for both Avid Xpress and Final Cut Studio before you assume the software will run correctly on an existing PC.
How does Avid’s color corrector compare to FCP’s?
Hands down, the Avids color corrector is much easier to use. It is visually easier to look at, and the controls are much more responsive. There is a one button operation that will automatically adjust your black and white balances. The waveform and vector scopes are also much easier to read. A unique feature of the Avid Xpress Pro is to color match one shot to another by displaying three consecutive clips next to each other and allow you to select certain color with a color picker to match.
It terms of functionality they are both similar. The one advantage of the Final Cut Pro 3-Way color corrector is you can limit a color selection. This means you can change one specific color without changing others.
What is the learning curve?
In my opinion Avid Xpress Pro is going to have a higher learning curve when dealing with effects. Avid Xpress Pro has two different effect modes, and there are many different tools and features that are hidden to the average user. I definitely recommend a certified training course when attempting to learn the Avid Xpress Pro effects interface.
Final Cut Pro is fairly easy to get started, but users can become overwhelmed with the number of options and different ways in performing the same function. Anyone familiar with After Effect’s style of effects editing will appreciated the Final Cut Pro interface. My advice is to stick with what you know works and then take look into taking a training class to learn how to improve your efficiency.
Keep in mind, for the new video editor, both programs can be extremely complex when it comes to learning all of the available features.

If you are new to the arena of video editing, eventually the question will arise. Which software is better, Final Cut Pro or Avid? The question can be a complex one. Each application has an army of loyal enthusiasts. Although, I won’t take sides on this issue, here are some items to consider.

The Final Cut Studio Bundle
One major difference, that must be mentioned here, is you can not purchase Final Cut Pro as a stand alone software product. It now ships as Final Cut Studio. This means you will receive the following major software components.

Final Cut Pro
Motion
DVD Studio Pro
SoundTrack Pro
Livetype
Compressor
Cinema Tools

This bundle is hard to beat. Of course, good luck becoming an expert at all of the products. LiveType, for example, doesn’t even ship with a manual. You will have to print the .pdf.

Avid Xpress Studio
So be fair, you would really need to compare Avid Technology’s version of their Studio bundle called Avid Xpress Studio to fairly compete. Of course, you must purchase the Studio package as an add-on. It does not come with the standard Avid Xpress software. The Studio Bundle ships with the following applications:

Avid Xpress HD
Marquee Title Tool
Pro Tools LE
Avid FX (Boris FX)
Avid 3D (A scaled down version of Softimage XSI)
Avid DVD (Sonic DVD)
Sorenson Compression Suite

Which bundle is better?
For the average consumer, The Final Cut Studio bundle is a little easier to handle. Although each application is feature rich, most editors will be able to figure out the basics.

For Avid’s Studio Bundle, the learning curve is much higher, especially when it comes to sound design, and special effects. You’ll notice Avid includes Avid 3D in the bundle. This is an entire industry within itself. Don’t expect to become an expert with the Avid Studio applications overnight.

Supported Platforms
When your purchase that Avid software, you receive MAC and PC software. I must warn you to pay special attention to the system requirements for both Avid Xpress and Final Cut Studio before you assume the software will run correctly on an existing PC.

How does Avid’s color corrector compare to FCP’s?
Hands down, the Avids color corrector is much easier to use. It is visually easier to look at, and the controls are much more responsive. There is a one button operation that will automatically adjust your black and white balances. The waveform and vector scopes are also much easier to read. A unique feature of the Avid Xpress Pro is to color match one shot to another by displaying three consecutive clips next to each other and allow you to select certain color with a color picker to match.

It terms of functionality they are both similar. The one advantage of the Final Cut Pro 3-Way color corrector is you can limit a color selection. This means you can change one specific color without changing others.

What is the learning curve?
In my opinion Avid Xpress Pro is going to have a higher learning curve when dealing with effects. Avid Xpress Pro has two different effect modes, and there are many different tools and features that are hidden to the average user. I definitely recommend a certified training course when attempting to learn the Avid Xpress Pro effects interface.

Final Cut Pro is fairly easy to get started, but users can become overwhelmed with the number of options and different ways in performing the same function. Anyone familiar with After Effect’s style of effects editing will appreciated the Final Cut Pro interface. My advice is to stick with what you know works and then take look into taking a training class to learn how to improve your efficiency.

Keep in mind, for the new video editor, both programs can be extremely complex when it comes to learning all of the available features.

Feature from www.geniusdv.com

“Never having used an Avid I personally cannot comment on their editing system but I do know that there was an ex-Avid editor at the recent seminar in Edinburgh with Larry Jordan.”

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Interview with Larry Jordan

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Shrink Ray from CrumplePop

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Filming my sons wedding in Italy…PART ONE

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gy-hm100-handI spoke to Philip Bloom about a month before the wedding to see if he recommended the Canon 5D Mk11 for filming the wedding but the 8min restriction would not bode well for the ceremony and the speeches. I also discovered that it’s very difficult to use the 5D as a film camera and a stills camera at the same time so I decided to use it for it’s main use as a stills camera.

I plumbed for the new JVC HM100 instead as I am a lot happier with technology I know and runs for more than 8mins at a time. I received the camcorder less than a week before I left for Italy not giving me time to get to grips with it’s foibles like the exposure wheel on the back of the camcorder.

It’s main problem is that everything is sub miniture so all the buttons are half the normal size but as long as you don’t have fingers like Desperate Dan then you should be fine. Although I already own a Sony EX-3 I did not want to lumber myself with such a large camera and tripod which is why I settled for the HM100.

I love the petiteness of the camcorder and the fact that it performs almost as good as the EX-3 excluding low light shooting. I was going to Italy after all at the height of the summer why should I need lights. For most of the wedding day it performed beautifully but due to a cock up with the start of the speeches remembering the ceremony did not start till 5pm and the dancing was to take place inside the dimly lit hotel, I got 98% of what I needed barring the 1st dance which I opted to use the stills camera by then totally forgetting Mr Blooms words “The 5D Mk11 is great for filming in low light”. In part two I hope to show you some footage but for now I need to get to Edinburgh to enjoy a days Power learning with Larry Jordan.

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