[Alex Udell]

Well said Les.

I was greatly saddened by this news as well.

He will be missed.

Alex
edit*or

[Alex Udell]

Steve…

I’m no expert on Red workflows, but based on this forum alone….

I’d research very carefully:

1) the interaction between Red Rocket and Mercury Playback: Does having a Red Rocket free mercury to do other things?

2) Does the Red Rocket have benefits outside PPro (like in After Effects) where Mercury is not beneficial at all (at least today).

3) Is Broadcast display important to you while you work? If so, how does red a Red Rocket integrate in to an environment with other 3rd party hardware for Broadcast IO?

also…

see what NAB has to offer in terms of updates from Adobe. One never knows what they might do to Mercury. So when you’re this close in time…it’s worth the wait…

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

I’m not sure about the modify approach because that’s a modification of a clip property.

in some instances pulling video only is a case based situation.

going thru the source viewer is probably the best approach.

honestly…

Adobe needs to update the software so that dragging to the timeline always respects that track patching.

What makes this difficult right now is that the sequence relationship for patching is always to the source monitor. It doesn’t “know” about the source you’ve selected in the project panel so the default is simply to override the patching and take everything.

Alex

[Alex Udell]

[Steve Gresser] “That does make sense, and if I follow the logic of it does that mean the render time for the current work sequence will be shorter if I have AE point to the proxy instead of the composition?”

Well you are spending some of your rendering budget during production as opposed to pushing it to the end. But it’s my belief that by using proxies in this manner it makes the editing process more creative allows for better feedback.

As far as red rocket….well that works with RED footage…. but nothing else. Is that what you’ll be shooting?

Alex

[Alex Udell]

Comp objects in PPro are live links to Comps in the Associated AE Projects.
Just rendering out of the movie Queue in AE won’t change that.

By using the Proxy method when Premiere Looks to the AE COMP in the AE project, AE will look to the render as opposed to looking to it’s live layers. If you need to edit the comp, simply disable the proxy, modify, and generate a new proxy. Proxy is a little misleading because ppl think that’s is less than full quality (which it can be), but it doesn’t have to be.

Depending on the complexity of the comp in AE, this can make you editing life in PPro (as by proxy, it’s just a single stream) easier, but still give you easy access to the comps from the PPro timeline if you need to modify it.

Does that make sense?

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Is the content ok in AE?

If so:

you can use the “make proxy” feature of AE to render the comp at Full resolution in AE. (right click the comp entry in the project panel of AE)

The you’ll be sure to have both accurate frames in PPro and the ability to further modify in AE if needed.

lemme know if this works…

Alex

[Alex Udell]

I miss 2 things in the trim window:

1) JKL trimming mode like FCP
2) when I play back in trim mode, I wish the time line cursor in the moved in sync with the playback.

FYI another approach to doing a slip is to double click a clip in the sequence, thus loading it as an editable object into the source viewer.

then in the time ruler in the source viewer, if you grab the center handle (vert lines) between the in and the out, you can slip the clip and it will update on the the timeline.

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

this brings up a good point…

what’s the easiest way to set up “center cut” overlays in PPro?

make a title?

Alex

[Alex Udell]

Hi….

Let me qualify this by saying that I am:

1) A big supporter of PPro
2) Not a feature film editor.

Now finally that we are in a 64 bit environment and ram is no issue, PPro can shine a bit more. I think trying to tackle long form projects in the ram constraints previous versions had would have been challenging.

Also understand that the way you think of feature editing today as an all digital workflow from end to end is pretty new.

Previously there were a lot steps that involved complicated timecode tracking in dealing with the frames per second that film is shot at and then working in a video frame rate space….

and also dealing with what’s called “dupe” detection when software would alert you when you might have accidentally used the same frame more than once. When you are cutting from a celluloid print for your final master, every frame only exists once, so this could cause all kinds of problems if you weren’t able to track this accurately.

There’s probably a lot more to it, but suffice to say that as a stand a lone product, PPro would have been pretty incomplete to handle feature work in the robust way many feature editors would have come to expect from other software. And frankly, I think Adobe never targeted it that way in the past.

The digital end to end pipeline has changed the world of feature film. The fact that the landscape of codecs is changing so rapidly now actually plays well to Adobe’s Mercury playback architecture. The feedback they are getting from migrating editors should push them to refine the editing tools pretty rapidly so I don’t think it will be long before we see PPro in the feature film space.

🙂

Alex

[Alex Udell]

I can’t say 100%, but this is where I am guessing that using the media browser to drag and drop from may give you a better result. I think the browser understands spanning. the import dialog does not.

Alex