-
PP2 needs to re-think TC if it wants to play with the big boys
Why is timecode implemented so badly in PP2???
PP2 handles TC like an effect and not like something that in my mind, needs to be number one and in the forefront.
When you edit professionally 99% of the time you colaborate, you are not alone in a basement. A director, their client, the client’s bosses, AE people/musicians working on post along side of you — all use TC as a reference abd guide.
In my mind, the Quickclips feature and output to PDF is just a way to hide the fact that PP2 in it’s programming has really messed up TC.
I’m talking about stuff like:
– I want to view either source or timeline TC on my NTSC monitor at all times when working on my timeline, especially if a client is sitting beside me and working with me with proper notes.
Why can’t there be a switch to turn TC on/off. Canopus Edius has this, even without a real-time card, so why can’t PP2. Instead Adobe puts a lame scrubbing feature that shows the clips source TC only when scrubbing.
– I want an output of my timeline with TC, not Quicknotes. Is there any other way to do this quickly? No, the quickest is to creat a transparent track put a TC effect and then output. That’s nuts!!!
– I’ve digitized 10 tapes with scene detect, I want to make a TC burn showing source TC. Man, good luck with that. Nearly impossible without applying the TC effect on like 500 clips. The transparent track in this case doesn’t work, it only shows timeline TC.
I can go on about TC implementation, but PP2 really has to get with the program regarding TC. Timecode is not an effect, it’s the basis of how a collaborative production is posted!!!
How TC is used now exposes PP as a NLE designed for graphic designers or editors working alone. It limits collaborative and broadcast usage.
-
11 Replies
-
you sure are right about that one
-
On the same note, a friend of mine just pointed out to me that you can’t even change the base time code of your sequence from anything other than 00:00:00. In a pro program this should be an option. If I am wrong about this, please let me know.
-
You are wrong. I would not be inclined to trust that friend with anything important. Don’t let him babysit your kids. 😉
The panel menu has two items in it. One to set the timeline to use Audio Units, the other to set the sequence zero point.
Steven
https://www.stevengotz.com -
Steven is correct; by “The panel menu” he could also mean the top right corner of the timeline window. (>)
I use the ‘sequence timecode start’ to set my timeline timecode to the exact timecode I am exporting to tape at. Most international program distributers like ‘picture start’ to be 10:00:00:00 so I set the timeline to 09:59:30:00 so my 30 sec clock can be the start (IN point) of my export to tape. This also helps when ever you need to revise a portion an need to re-insert it back into the tape. You can immediately refer the timeline to the tape timecode.
It is also valuable for checking export to tape accuracy and for drop frame detection over a long export. If a drop frame occurs on export then the later timecode numbers will no longer match between the timeline and the tape; then its just a matter of going back into the tape and comparing it with the timeline untill you find where the offset occurred and exporting from there (after you have determined what caused the drop)
As for doing source timecode dubbs I don’t find it too tedious to set the ‘timecode’ filter; hell! its only been there since PPro 2 and was almost impossible prior to that! The only thing I find strange about Adobes implementation of the timecode filter is that it defaults to ‘clip’ timecode (zero based) and not ‘media’ timecode which is in the most part what you want displayed in a pro environment. Once I set up the first clip its just a matter of cut/paste attributes across the lot; all done in about 5 secs.
My BIGGEST criticism of PPro’s timecode handling (and as I have mentioned before on these forums) is its inability to detect timecode breaks/jumps on capture which is more the fault of the avi wrapper format than Adobe’s. But as a work around they give you scene detect but leave the actual implementation of that feature to the capture card manufacturer who most deem ‘last on the list’ of their feature set. I have my work arounds but they certainly don’t suit everyone.
Baz
(been Premiere’n since V4.0) -
Yes, the nomenclature change is a bit of a pain (pun intended). The timeline window is now the timeline panel, or even pane! The menu selector is oftalled a “twirly”. Odd word, but I suppose it does “twirl down” a menu.
Thanks for the more detailed explanation.
Steven
https://www.stevengotz.com -
[mbelli] “Why can’t there be a switch to turn TC on/off.”
Please file a feature request.
[mbelli] “I’ve digitized 10 tapes with scene detect, I want to make a TC burn showing source TC. Man, good luck with that. Nearly impossible without applying the TC effect on like 500 clips.”
Apply it to one clip. Copy. Select the other 499 clips with the Track Select tool. Paste. Not a perfect solution, but hardly worth the angst.
-Jeff
The Focal Easy Guide to Adobe Encore DVD 2.0
-
But I also find the EDL import/export of PP2.0 to be unusable as well. I’m trying to use the BlackMagic DV for offline and then export an EDL but the edl comes out incorrect. Same with importing an EDL from another app or even from PP2.0. One thing I noticed is even though I digitized the footage with timecode, the timecode was incorrect and when I try to change it, it’s still wrong. Could I be doing something wrong?
-
[Adrian Tecson] “But I also find the EDL import/export of PP2.0 to be unusable as well. I’m trying to use the BlackMagic DV for offline and then export an EDL but the edl comes out incorrect. Same with importing an EDL from another app or even from PP2.0. One thing I noticed is even though I digitized the footage with timecode, the timecode was incorrect and when I try to change it, it’s still wrong. Could I be doing something wrong?”
Does a printed EDL show this discrepancy?
I don’t know But my printed EDLs show every In/Out of original clips,(as trimmed) as well as where the edit is placed on time line. This was from a 4 cam sync’d multicam 1 hour shoot (1 roaming cam unsync’d). The only numbers that differed were offset split by the length of the transition. What else do you need. Almost all online effects work is recreated from those basic set of numbers. Personally I don’t think any NLE truly supports great EDL conform capability except within its own set of paramaters. Could you be using DF instead of NDF or visa versa or same frame rate (23.97, 24 fps, 30fps etc.)? Although there’s room for improvement from within Adobe, P2_0 is standing pretty tall in terms of delivery. Sorry, but playing with big boys, I think Adobe is one. Every Post house in the country uses their software. When they discover the internal tools of the production suite, more will tend to switch. It is an elegant solution especially for the Botique facility faced with the transition to HD. -
Hi Gene,
What hardware are you using for your Premiere Pro? Are you using Decklink as well? Thanks
-
Hi Adrian
We have two PPro systems. One uses Multibridge extreme, the other is a dv editor. The dv editor is the one that we did the multicam edit on with printed EDL’s. It was all shot DVCAM. Also this edit was capatured full with no TC Breaks as all cameras shot continuously with exception of one roaming camera. But we had no timecode issues with it either. I have not seen any TC issues with the decklink system though. Are you seeing TC issues with SDI and RS 422 control?
Reply to this Discussion! Login or Sign Up