Slow timeline export in Premiere CS6

[Tim Kolb]

Depending on what version of Premiere Pro you’re using, there should be a ProRes sequence preset?

In CC, ProRes on a Mac should handle very similarly to FCP if the sequence and export are set up correctly.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Liz Parham]

Sry, editing in Premiere Pro CS6 using the DSLR sequence preset.

[Tim Kolb]

Keep in mind that in FCP you’d have spent the time up front to transcode -all- the DSLR to ProRes ahead of time…so the export to ProRes doesn’t take long.

In order to compare render times, you’d have to take the time you spent exporting in Premiere Pro, and compare that to the short period you spent exporting in FCP -AND- the time spent transcoding the DSLR media to ProRes before you even begin editing in FCP.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Liz Parham]

True, but I also transcoded everything to HQ via mpeg streamclip ahead of time in order to edit with Premiere/FCP. I know you can edit h264 in PPro, but we found it easier to just have the HQ files already so we would’t have to deal with an offline/online workflow.

[Liz Parham]

PS I also used PluralEyes, which exports its own xml into Premiere. I assumed those sequences would match the sequence settings set in Premiere, but maybe not? Oye, my problems usually start at PluralEyes.

[Tim Kolb]

Editing native isn’t “offline/online”…it’s simply leaving the media transcode to the end, which saves time (and drive space).

Why are you using the DSLR sequence setting when you’re editing Prores?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I don’t use Plural Eyes (PPro CC actually has a similar function inside the software) so I don’t have much insight into that workflow I’m afraid…

Since you’re transcoding all that footage anyway, why wouldn’t you simply use the secondary audio as the audio for the transcoded file?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Paul Neumann]

Here’s what you should do:

https://blogs.adobe.com/VideoRoad/2011/08/a-prores-workflow-end-to-end.html

Then the “Use Previews” function will actually do something for you.

[Liz Parham]

Thanks, Paul.

I did adjust the dslr sequence setting to match HQ codec, but it seems I didn’t for the output settings.

Plural eyes still exports a sequence that isn’t the right setting, but I can copy the sequence and paste into one that is correct.

[Liz Parham]

re: Tim

Sry, my brain thinks editing native is “offline/online” if we have to media manage/transcode the files to HQ in the end. Because MPEG streamclip erases TC, I worry that won’t work in premiere as it didn’t work in FCP on our last film after editing in Proxy with no TC. Already looked into QTchange to add timecode back in, but I was getting error messages in PluralEyes. Once again, all troubles lead to PluralEyes.

We also like to retain the camera audio in all of our clips since we’re mostly editing documentaries and sometimes the camera audio is better than our secondary audio.