Alex Elkins
Forum Replies Created
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Leonard, I have also just discovered this problem. There was a post on the Adobe forums back in December that stated the same thing and it looks like it still hasn’t been addressed.
It looks like the best option at the moment is to transfer your project into CC 2015 or earlier.Alternatively in 2017 if you select the .srt file in the project panel Premiere gives you the option to export the captions.
That said, unless you are actually editing the captions inside Premiere then you presumably already have your sidecars file, right? The srt files you imported into Premiere in the first place. Or am I misunderstanding something? I’m not an expert when it comes to captioning!
Alex Elkins // Freelance Editor & Colourist
alexelkins.co.uk
@elkstwit -
Awesome, thanks!
Sounds like this tip will soon be superseded with the next release of Premiere but great to have access to timewarp for the time being.
Alex Elkins // Freelance Editor & Colourist
alexelkins.co.uk
@elkstwit -
Woah, there’s a hidden features hack that includes Timewarp!? Are there instructions anywhere on how to do this?
Alex Elkins // Freelance Editor & Colourist
alexelkins.co.uk
@elkstwit -
[Stephan Walsch] “make a subcomp 2 frames in length. the first frame is from the first clip 2 frames before the cut, the second frame from the second clip 2 frames after the cut. you can experiment with this distance. so you now have a sequence 2 frames long that really should be 4 frames long. stretch this using AE timewarp or twixtor and it will morph over your cut. of course quick movement or too great a difference between cuts will break this.”
Thanks for sharing this. I still haven’t quite got my head around HOW it works, but it does work and I love it.
Alex Elkins // Freelance Editor & Colourist
alexelkins.co.uk
@elkstwit -
Thanks, it was looking like it wasn’t possible so it’s good to get it confirmed by someone else. Wish it wasn’t the case but I suppose it’s understandable given the lack of a CMD key on Windows.
I ended up just doing it the hard way and modified the layout from scratch every time I pressed something that didn’t do what my custom keyboard normally does!
Alex Elkins // Freelance Editor & Colourist
alexelkins.co.uk
@elkstwit -
I’m just going to step in to make an alternative suggestion. It’s good to hear the nesting solution worked for you, but it’s in not a solution that would be advisable for everyone (for example, anyone going from offline editing in Premiere to online/grading outside of Premiere).
My first impression when I read your original post was that your render settings (XDCAM) are exactly the type of codec known for these sorts of issues. So my suggestion is to change your render settings (also known as preview settings) to one of the following:
- ProRes 422
- ProRes 422 HQ
- Uncompressed 8 bit
- Uncompressed 10 bit
Obviously I’ve not got your project in front of me but I suspect if you tested it this would also fix the problem. There’s not really a good reason why nesting the clip should fix this issue anyway – it sounds more like a workaround for a Premiere bug than anything.
Alex Elkins // Editor & Colourist
alexelkins.co.uk
@postbluetv -
Export an EDL of your timeline and use that as a cut list with the ProRes file in Resolve. It’ll do what you’re trying to achieve with your ProRes + XML method.
Alex Elkins
@postbluetv
http://www.postblue.tv
View my new colour grading reel -
[Sebastian Schmid] “Wow, some of you have a really whacked out view of things. Only hire someone over the age of 30? I feel bad for your clients. Your production will be limited.”
I completely agree. However, I don’t think anyone should be trying to poach clients from their employers, so I do agree with the initial complaint. It’s a real shame to feel that they only way to stop people acting like jerks is by making them sign a contract where they agree not to be a jerk.
Alex Elkins
@postbluetv
http://www.postblue.tv
View my new colour grading reel -
[Sebastian Schmid] “I don’t think there is a problem with him giving his business card in that situation. You don’t own that person and plus, his profession is sound…what is your job description?”
Sebastian, the point here is that Ned had to advertise for the position, interview applicants and organise everyone and everything involved in the shoot. It’s a lot of work. For that he will likely be charging some kind of production fee, and probably marking-up the sound recordist’s rate – a kind of agency fee, so to speak.
By the sound recordist handing out his business card to Ned’s client, he’s effectively saying “come direct to me and you can save on Ned’s production fee and mark-up.”
That’s not a very cool thing for the sound recordist to do after Ned was good enough to hire him after investing all that time and effort in pre-production. It’s also a pretty stupid thing to do, because he won’t be hired by Ned again, nor anyone that Ned cares to tell.Alex Elkins
@postbluetv
http://www.postblue.tv
View my new colour grading reel -
Do bear in mind that Shane’s tutorial is based on transcoding using Log & Transfer. If you’ve transcoded using third-party software (as the O.P. did) then that won’t apply (although it’s a great tutorial video describing a process we should all be confident with).
To be honest, there isn’t a very good offline/online tapeless workflow for FCP other than Log & Transfer (unless you’re using the high-end digital cinema cameras). The best option is perhaps DaVinci Resolve Lite (free), which can act as a useful transcode and conform tool as well as for grading.
The reason FCP’s Media Manager was originally mentioned was because you stated you had ProRes 422 masters from which you wanted to derive ProRes LT files for offline editing. Media Manager is great for going from high-quality down to lower-quality, but isn’t useful for normal offline/online tapeless workflows where you’re beginning your edit with low-quality media.
Alex Elkins
@postbluetv
http://www.postblue.tv
View my new colour grading reel