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In Search Of … A Better H.264 to ProRes Workflow
There has to be a better way to do this: Once I have a decent rough cut in PP CS6, I need to transcode my clips to ProRes422HQ. Why? Don’t ask why … Resolve hates H.264, AE hates H.264, it’s just not worth discussing a native workflow at this point. So, because I need discrete and separate clips with handles, right now I am –
1. Isolating a clip in the timeline by delete all other clips, extending it by 12 frames front-and-back, and moving that clip to the start of the timeline.
2. Exporting said clip to AME, which doesn’t remember that I’ve just done the previous transcode as ProRes422 HQ, and instead ALWAYS defaults to NTSC DV 24p, and places the output file in a location I havent used in months. So I always have to reset both the desired codec AND the output location for each new clip. Wrong, right? Also, I have to rename each clip, because AME naturally thinks it’s transcoding the timeline Sequence name, rather than discrete clips.
3. I go back to the timeline, Undo enough times to get back to the original status with all my clips, pick the next one in the line, delete the remainder, export the desired clip to AME, and repeat.
4. Once I’ve done this as many times as necessary to have transcoded all the clips to ProRes422 HQ, I return to the PP timeline and replace the H.264 clips with the new versions. From there I can proceed to Resolve for grading.This is completely stupid, right? So what’s the alternative, assuming (without debate, thanks) that I want to end up with ProRes422 HQ clips with 12-frame handles from each of my clips?
Help!
Thanks in advance –
Jason
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25 Replies
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Premiere Pro can’t consolidate/trim. Make a feature request to add to the strength in numbers.
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
At the moment, your best workaround is to use project manager to “collect files and copy to a new location”. Then run that bunch of copied clips through AME to transcode to ProRes. Then re-link. If you want to trim, you can then trim them now that your footage is in an all I-Frame format.
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If you need to use ProRes for your conform, then I’d edit in that too. There are lots of easy ways to convert to ProRes and they all revolve around Adobe Media Encoder.
Use it to batch process your H.264 clips to ProRes. Assuming that you’re on Mac then download the AME presets for ProRes: AME ProRes Presets
Dennis – Adobe guy
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The problem with this workflow for people like me is that one of the undeniable advantages of tapeless or filmless capture is no longer being restricted to “takes.” I find it desirable for a long list of reasons to just let the cameras roll, creating subclips after-the-fact that become “takes.”
However, with your suggested workflow, we’re talking about transcoding hours of material so I can get to my sixty-second spot’s worth of footage!
I’m good with the idea of cutting in ProRes – would prefer it for a variety of reasons, in fact. But unless there is a way to trim footage in advance of transcoding, it’s a no-go for us.
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Do you have After Effects? Without diving in and doing something for you (I don’t have the time at the moment) you could import the Premiere timeline into AE where you see all the edits as layers, then use a scrip to break apart the layers into new comps, add handles, and add to the render queue.
I would check some AE scripting sites for something suitable. This would seem like a common enough request.
Also with AME (an aside to the issue really), in preferences you can set a default export directory. You can also select all in your render queue and change a single preset to apply to all selected clips; a two-click process.
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I think what you’re really saying is that we could do a better job of giving you options about when you convert your footage – that I can agree with. There are always areas where we can improve and we take customer input very seriously.
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The issue with the AE workaround is that you can’t generate 12 frames of handles. And even if you can, you can’t get it back into a sequence that is linked to the trimmed clips in XML/EDL. The Resolve route is relatively easy if you don’t need handles- export a QT in ProRes, export an EDL and use that as a cut list.
One of the things about PPro is that you have to be aware of your workflow before you start editing, partly because of the inability to consolidate/transcode, also in part because re-linking options are limited. The media management is akin to flying by the seat of your pants. It is great in that you can start an edit early, but depending on your workflow, you may choose to transcode. Eg. If you’re editing AVCHD and your workflow involves the Resolve.
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One of the folks here (who has their pic on the leader board) cuts different formats natively in PrPro, then outputs the timeline by laying it back to an AJA KiPro recording in ProRes and then imports that file into Resolve using the scene detect feature. This give him realtime lossless PreRes encoding and a file that works great in Resolve with a min of encoding time.
I know not everyone has a KiPro at their disposal, I am just offering it up as an alternative to show that depending on your needs there are options that may not seem so conventional.
“Think of everything in terms of building capacity.”
Kris Merkel
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Product Manager, Flanders Scientific Inc.
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You know, Dennis, it’s such a great application, I think I am surprised when it’s not perfect, to be honest. I own the Avid, I own FCX, and of course, I come from FCP. Premiere Pro is so intelligently designed and built that when it has these foibles, like no equivalent for Log and Transfer, or the efficacy of Compressor, it’s disappointing.
CS6, particularly, is as close to meeting our needs as anything out there. Thanks.
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Hey Kris –
If I was going to use Resolve’s scene detection, why wouldn’t I just run the entire timeline through AME to transcode to ProRes, then feed the resulting single clip into Resolve? I’m not sure I’m clear about the advantage of using the outboard recorder …
Thanks!
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So it appears that, at least for the current project, which is already at rough cut, I need to stay with my current, somewhat wonky workflow. So … to address the AME issues I’m having, why DOES the Present always default to one I never use, even though I always change it duly and expect the next clip coming in to have the new preset assigned to it?
And then also, why does the Output file destination always default to one I used maybe six months ago, and when I reset that it never appears for the following clip in?
These are truly maddening aspects of the workflow, and seem to be a glitch in at least MY AME install. Any ideas on a fix?
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