Thoughts from the departed?

[David Cherniack]

Chris, I haven’t played around too much with the different track types. I suggest going on the Premiere forum, either here or at Adobe, and asking there. Sorry.

David
AllinOneFilms.com

[Chris Harlan]

[David Cherniack] “Chris, I haven’t played around too much with the different track types. I suggest going on the Premiere forum, either here or at Adobe, and asking there. Sorry.
“

Thanks, but I’m totally getting into this. The level of sophistication is amazing. There are channels. There are tracks. They can be converted to and fro using mapping and modify. You can build ProRes templates for both timeline and export. There are sends to sends. I’m having a lot of fun breaking this all down. Bravo to the folks who put this crazy thing together. I’m having fun!

[Jeremy Garchow]

[Chris Harlan] “Thanks, but I’m totally getting into this. The level of sophistication is amazing. There are channels. There are tracks. They can be converted to and fro using mapping and modify. “

The awesome thing for me with Pr is the honest to goodness submixes.

If you have checkerboarded audio on 1 and 3, and maybe 2 and 4, you can group 1/3 & 2/4, send them to submixes and apply the same filter to them (i.e. compression or whatever). The only problem is that the keyframes do not move with the tracks.

If there was ever a time for a magnetic anything, it would be now.

Also, I think the mixer could stand to use a “downmix” button so that you could setup and mix a multichannel output, but still monitor stereo. This way you could ensure a proper multichannel output (split) but still be able to hear what you’re doing easily without having to rewire your suite.

I also think that you can’t really change stereo to dual mono very easily.

I think I’ll just go on record and ask, why are stereo tracks even necessary? It just doesn’t seem like a worthwhile venture to me and always seem to cause more trouble if you forgot to break your clip in to dual mono first. Or if they are necessary, can’t we simply have the control to break out to dual mono if needed?

Smoke 2013 has them too. Sure, it makes for a “tidier” interface, but functionally they cause more problems than solve or at least that’s how I hold it wrong.

All that being said, Pr has some really sweet tools for audio, it just needs a few more upgrades for ultimate flexibility.

[Chris Harlan]

[Jeremy Garchow] “The awesome thing for me with Pr is the honest to goodness submixes.
“

Its good stuff.

[Jeremy Garchow] ” think the mixer could stand to use a “downmix” button so that you could setup and mix a multichannel output, but still monitor stereo. “

Agreed. But I love that I can now monitor all my outbound channels by simply clicking the toggle at the bottom of the audio meters. It would be nice if you could gang those to monitor all outs, but as is, it is definitely a step up.

[Jeremy Garchow] “I also think that you can’t really change stereo to dual mono very easily.

I think I’ll just go on record and ask, why are stereo tracks even necessary?”

I’m still weighing this in my head. I do like the way that FCPL deals/dealt with stereo/mono issues, but I’m going to stay open about the choices available in Pr. I’m really interested in understanding the inner implications of the Standard and Adaptive tracks. The channel patching available in adaptive and the clip-level modify audio are positively exotic in what they let you do to patch multi-channel/multi-track audio.

[Jeremy Garchow] “All that being said, Pr has some really sweet tools for audio, it just needs a few more upgrades for ultimate flexibility.
“

Well, there’s always room for more, but dang–there are some interesting things here.

[Jeremy Garchow]

[Chris Harlan] “I’m still weighing this in my head. I do like the way that FCPL deals/dealt with stereo/mono issues, but I’m going to stay open about the choices available in Pr. I’m really interested in understanding the inner implications of the Standard and Adaptive tracks. The channel patching available in adaptive and the clip-level modify audio are positively exotic in what they let you do to patch multi-channel/multi-track audio.”

It’s true, and I can see a use for them (track filters being one of them) it’s just that it’d be nice to be able to get out of it if I need to, or be able to convert a stereo cam orig clip to a dual mono without a reedit.

What I could see a great use for is an adaptive submix that could downmix to a 2 channel stereo out. I can’t figure how to make it work if that is possible in Pr CS6. If someone knows, I’d love to hear about it,

I also tried cheating it by using various submixes with separate assigned channels to downmix to stereo.

So I’d set track 1&2 to 1+2 out, 3&4 to 3+4 out, etc. then send all of those to 2 separate stereo submixes both set to 1+2 out on a 12 channel master and it works, but when I change 3&4 back to “master” they have lost the 3+4 channel assignment, which means I will have to manually rewire it all again.

You know what would be awesome? If I could just assign a tag to each clip and when I export they export properly in to a stem without me having to do much.

I kid, I kid.

Really, I am kidding.

Jeremy

[Dennis Radeke]

[Chris Harlan] “You can build ProRes templates for both timeline and export.”

Sounds like you’re giving Premiere Pro a spin, thanks!

You might check out the presets for Mac users that are located here:
ProRes Presets for Mac

this will give you ProRes export presets via Premiere Pro and AME.

Dennis – Adobe guy

[Chris Harlan]

[Dennis Radeke] “[Chris Harlan] “You can build ProRes templates for both timeline and export.”

Sounds like you’re giving Premiere Pro a spin, thanks!
“

More than a spin. I’ve pretty much decided that Pr and MC are going to be my two main NLEs going forward. (And of course FCPL as long as it lasts.) You folks have done a great job with Pr 6, and its a pleasure to use.

[Dennis Radeke] “You might check out the presets for Mac users that are located here:
ProRes Presets for Mac

this will give you ProRes export presets via Premiere Pro and AME.
“

Thanks! I’ve been rolling my own, which is no particular problem, but I’ll download these now.

[Lynette Gilbert]

OMG, I completely forgot about D/Vision. I think that was the first NLE I learned …

[Brooks Tomlinson]

About your render on export, have you read this post?

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

Karl talks about making it all pro res. So when you render an effect to see if it works, it is rendering to pro res. Then, at the final output, you can check the box that says “use renders in final output” He also has a follow up article on advance settings.

I’ve noticed it really speeds up final output. Learning about this set up has made pp6 awesome for me. Also the dynamic linking actually works this time. So going to aftereffects and back is easy. I’m sure if your windows you could just pick the codec of your choice as well. Like avid dnx.

Brooks
“I dream in 32bit float, don’t you?”

Brooks Tomlinson