Alex Udell
1
Premiere Pro Coin
Forum Replies Created
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Also….Terho….
did you know the latest version of Media Encoder has:
• Media Browser panel built in
• ability to Mark IN/OUT in the Picon View
• Options to Stitch multiple files on Encode?
It’s getting very good!
I’m relying on it more and more every day.
Alex Udell
Editing, Motion Graphics, and Visual FX
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If you do go the transcoding route….
choosing Quicktime as your media container has the added benefit of being Metadata Keyword capable in Adobe Bridge as well. This allows you media to become much more discoverable as well.
Alex Udell
Editing, Motion Graphics, and Visual FX
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There is definitely something odd going on if you are the only one in a group seeing the issue….
I’m not sure of the FIX….
but maybe this will help as a temp work around
you could dry to make a symbolic link to you netowork location on you C:/ Drive
windows has a command called mklink
here’s a video on it:
https://www.youtube.com/watch?v=KxpVb9qz4XM
one the link to the remote location is created….
then In PPro you’d only need to browse to the C:/ path
The OS then SHOULD handle the see thru of the network location.
I’m not suggesting this is a FIX…..but it might get you going if you are losing productivity or are up against a deadline.
I’ve been environments where mklink was used in situations where Volume mapping was inconsistent….
(where network locations didn’t always get the same drive letter from machien to machine)
by using mklink…. it was always based on C:/YOUR_FOLDER_NAME
that way it was always the same from machine to machine….
hth some….
Alex Udell
Editing, Motion Graphics, and Visual FX
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Examples: Retail Automotive Motion Graphics Spots
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I’ll always welcome someone to the Premiere Pro family.
Without knowing specifically about you….
I’d say industry adoption of PPro is a good reason to know it.
This means, you can get jobs where it is used already.
and it means you can easily interact with others who use the Adobe echo system.
Those are good things.
Because Adobe is so big in this space, it’s an easy case to make to say….it’s valuable to know…
where I don’t think I could make the case that you’d miss a lot of career opportunities because you didn’t know Sony Vegas.
As to the technical ins and outs…I don’t know enough about Vegas to answer. I know there are some common things that people come from Vegas miss when they move to PPro….
automatic transition creation when clips are overlapped…
non destructive clip objects in the edit..meaning when you remove a clip that is splicing another clip…..the
underlying bounds of the remaining clip object are restored…Premiere would make you trim the remaining clips back out.Those are two that get asked frequently here by Vegas users.
Some questions for you….
1) do you feel like Vegas doesn’t meet your or your clients needs technically?
2) do you feel like the Vegas software is being developed at a pace or in a direction that meets the needs of you or your clients?
3) Are your clients being particular about whether your use Vegas or not?
4) Are you looking to add more motion graphics and Visual Effects to you work?depending on how you answer those questions, can strongly dictate whether you should invest the effort to join the Adobe ecosystem.
That’s what I’d say anyway…
hope that helps….
Alex Udell
Editing, Motion Graphics, and Visual FX
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Examples: Retail Automotive Motion Graphics Spots
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There are a couple of ways to deal with this…
In AE when you do the work….
Render out at .mov and in the output settings make sure to enable “Include Project Link”
if you need to make changes in the AE project…you’ll be able to “edit original” in PPro and be taken right back to the companion AE file…
If you really need to use Dynamic link…
Select your comp in the Project panel of AE, right click and choose “set Proxy”
and choose your render…
then you can dynamic link from PPro to AE…..and have access to the comp, BUT the comp is looking at the already rendered File….so you can minimize the performance hit when working with Dynamic link…
(don’t forget that Proxies can be ANY resolution…even full and final it makes no difference to AE)
HTH…
Alex Udell
Editing, Motion Graphics, and Visual FX
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Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
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I assume you could nest the clip that had the speed changes applied….
then warp stabalize that….
Alex Udell
Editing, Motion Graphics, and Visual FX
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Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial -
Yeah….
but this is a Proxy….it’s mean to give you a workable clip to make a content decision….not for final….
Can you make your selects with the Proxy….?
then handle the reframe switching back to full resolution source for the asset?
in that case I would guess (again not used it yet)…that the scaling options discussed is handled separately for the 4k native versus the proxy…. in other words….when you switch back to full res….you will be able to reframe at full quality….
I’d guess that when it comes to 4k….forcing PPro keep track of all those pixels outside the frame (precisely because you want the ability to reframe is what causing the issue…
I cut an SD widescreen deliverable using 1080 and 4k source and no proxy workflow. But I had to set my quality to 1/2 or worse to get it done….
So I do understand your point…
Alex Udell
Editing, Motion Graphics, and Visual FX
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Hmmmm……
Do effects controls show scaling at 100 percent?
Is GPU enabled?
Sounding like Adobe support needs to get involved to me.
Alex Udell
Editing, Motion Graphics, and Visual FX
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Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial -
Hi…
in my day to day….I’m a couple versions behind so I haven’t worked proxies functions into my pipeline.
so this is purely a guess…
Before you make a proxy set….
(which should be set to the dimensions of your editing seq…so in your case 1080p)
in Prefs>General make sure that “default scale to frame size” is enabled
I would guess that PPro treats the proxy creation like a “new import” and needs to know how this would should be scaled in the timeline.
again….if your proxy resolution matches your sequence resolution, this should not matter….and in that case there is definitely something odd going on that warrants some support…
some other notes to think about is that I assume the 4k you are shooting is some flavor of h264…which means disk speed and throughput requirements are pretty low….but CPU and GPU requirements go up if your mixing and matching into a non 4k sequence….
when you flip to proxy….you could try ProRes or Cineform or DNXHD….this will be light weight on the CPU and GPU…..but the disk speed and throughput requirements go up…so that’s the game you are playing….
Keep up posted on the outcome of this please….
thanks!
Alex Udell
Editing, Motion Graphics, and Visual FX
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Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial -
Not sure you could do this all with one laptop…
you’d need a switcher of some sort…
with the Macbook as an input via some sort of video play out…Matrox or Black Magic probably have something that can get play out to HDMI…
so then Mac and your other source are HDMI inputs to the switcher….at the conclusion of the video playback of the mac…you’d then switch to the other input source via the switcher…
if you needed further editing on the mac your audio would probably need t come from elsewhere as well… as stopping down the timeline to build your next edit would stop the audio play back on the mac…
doable….
there are solutions for this….
Alex Udell
Editing, Motion Graphics, and Visual FX
Let’s Connect on Linkedin
Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial