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Ingesting with Prelude CS6
I work in a production house that is currently transitioning from FCP 7 to Premiere CS6. I’m used to using FCP to transcode all my footage into ProRes (this footage was originally shot with a Panasonic camera on P2 cards), and this turns each video clip into its own separate file that can be renamed, and retains all 4 separate tracks of audio recorded by the camera.
Now when I try to use Prelude, I find that I can transcode each clip into separate files, but then I’m left with only 2 channels of audio. Or I can choose to retain the P2 file architecture in Prelude, which saves all 4 tracks of audio, but then I have to deal with all the P2 folders and subfolders and not be able to rename any of it.
Is there a file format in Prelude that allows me to end up with a standalone file per clip that can be renamed, and retains all the audio tracks recorded by the camera?
Thanks!
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7 Replies
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This is a 16 page Adobe document on workflow in CS6 with Panasonic P2 files. I am not sure, but I would think it would cover yoyr questions? I tried to do a quick scan.
https://www.adobe.com/content/dam/Adobe/en/products/premiere/cs6/pdfs/adobe-premiere-pro-cs6-p2.pdf
Best,
Michael -
Thanks for that link, but it seems to gloss over the section I’m interested in the most: “Part 2: Ingesting and logging footage in Adobe Prelude CS6”, which is barely a third of a page long! However, I’m getting a sense that people’s workflows apparently include capturing the P2 card file architecture and just letting Premiere make sense of the footage from there. But this method doesn’t let me rename any of the files, even within Premiere.
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[Danny Bourque] ” However, I’m getting a sense that people’s workflows apparently include capturing the P2 card file architecture and just letting Premiere make sense of the footage from there.”
Yes, this is the way many Premiere Pro users work with P2. For a lot of us, it’s just faster to work with native file formats.
[Danny Bourque] ” But this method doesn’t let me rename any of the files, even within Premiere.”
You can rename files in Premiere, just click on the filename in the project panel and type a new name. Of course, this filename only shows up in Premiere and AE (if you send the clip to AE via Dynamic Link). Otherwise, the original filenames go untouched.
Shawn
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The upside of native is speed, just start cutting.
The down side is the overall media management limitations introduced by such a workflow.While you can rename “clips” in PPro, it does not rename files on the drive.
Functionally FCP and PPro are the same at that level…
If you want to have control over:
a) Consolidating media
b) renaming files as you see fit for OS level searching and organizingThen transcoding to a codec file type that doesn’t require structured folders is the way to go.
Alex Udell
Editing, Motion Graphics, and Visual FX -
Alex – I’m totally with you on all those points. The trouble I’ve had is finding a codec that maintains all four channels of audio as recorded by the camera. So far I’ve only found ones that drop the audio channels down to stereo only. Is there a way to maintain the original audio channels that I’m just not getting?
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ahhhhhhhh
hmmmmm
now that’s an area I don’t have experience with….
I spoke with an audio engineer who had an idea…
Could you embed that channels as 5.1 or quad channel QT?
that would at least transport the channels to PPro…
with 6’s new track structure you should be able to do whatever you want with them….. ?
Alex Udell
Editing, Motion Graphics, and Visual FX -
Hey Danny,
You may have figured this out, but to get four channels of audio on your transcoded files you have to set up a preset in Media Encoder. Make a new ProRes preset (or whichever codec), then in the audio tab change the Channels from Stereo to 4 Channel.
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