[Alex Udell]

I’ve done it before….all transisiton parameters should be preserved. 🙂

Alex

[Alex Udell]

Hi Erik,

Well…

You could set up the title with the in and out transition as you like it once.
Copy and paste it as you like on the timeline to a different point in time (or a whole other sequence if necessary…) the transitions would come with it….

then choose the new title in your project panel…

hold the option key and drag the new title over the old title…

this way the title is replaced, but the transitions are preserved….

that should speed things up…

also because it’s a title (still), you can trim to any length you want.

does that help?

Alex

[Alex Udell]

try this….

open the AE comp in AE….

select the clip you want….choose Edit>Copy

switch to Premiere Pro…

tab your timeline correctly and place your playhead at the right point in time…

then choose Edit>paste…

does that bring it over?

Alex

[Alex Udell]

Motion has “publishing” and “drop zone” capabilities in which dynamic comps from motion can have modifiable text strings in FCP and retain their animation, and where video elements are exposed as drop wells in FCP for easy swap by editors within the fx parameters of FCP.

This is a functionality that PPro/AE does not currently have an exact parallel for.

Alex

[Alex Udell]

Yeah but I don’t see that as an ultimate problem.

I think workflows can be designed so that the crew returning from the field could edit native with the initial asset while at the same time some batch encoder is picking it up and transcoding it for the library.

So it actually is a benefit from that POV.

Alex

[Alex Udell]

Hi Tom….

What PPro offers that FCP didn’t is the flexibility of saying you don’t have to transcode to edit. I do love this.

But….

With workgroups, like broadcasters for example….

having to maintain folder structures, say from P2 acquired media, for example, can be problematic in a SAN or NAS. Much simpler to have an individual, non atomized, asset for cataloging and migration around the file system.

You also might want the ability to move to a codec type that is friendlier with the variety of workstations that may need to access the asset. Not all of them will have robust CPU’s nor will they have a CUDA GPU. So transcoding to a common denominator can be helpful in those circumstances as well.

Currently in PPro (at least as far as I know), lots of GOP based media doesn’t seem to allow trimming (media consolidation) during the “project manager” phase of prepping a project for archive or transport. This means that source media must be entirely duplicated making the deliverable larger. With the cost of storage space continuing to drop, it’s not as big a deal. But again, in broadcast scenarios, where feeds can be hours long, and likely based around a GOP structure, this might pose workflow issues that could be resolved by a transcode to non GOP somewhere in the pipeline.

That’s what comes to mind initially anyway…but maybe I’m over thinking it. Certainly wouldn’t be the first time. 🙂

Alex

[Alex Udell]

I do see a some big plusses for transcoding in a pipeline:

1) Performance optimization – to this end, why not co-develop with NVidia?
2) File management – I much prefer individual files to the structured folder format of P2.
3) The opportunity to allow Media consolidation during “Project Mgmt” options. Seems many formats are now locked out of that and it makes archiving and moving big projects harder.

alex

[Alex Udell]

You know….I’m not so sure that “Adobe needs a codec of it’s own.”

Why muddy the water with yet another codec?

It seems people have been able to make both Pro Res and DNXHD work with Premiere Pro already.

Adobe should create yet another codec to compete as a standard?

I’m not ruling it out…I’m just saying….while it’s nice to have something out of the box…until it’s widely adopted like those two are…you’re just an island again….and it’s harder to move media between shops…

thoughts?

Alex

[Alex Udell]

Tom,

believe it or not,

I actually developed that in a workgroup environment. 🙂

Alex

[Alex Udell]

Hi Guys….

It’s not that Ppro doesn’t have relink….

PPro generally uses the respective OS’s search tools for finding media.

Preemptively in workflow, this is why I suggest that people don’t change the name of clips in project panel and use description or some other metadata flagging for useful editor naming.

So when this happens you can:

1) Choose to enter the project with all media offline
2) Select the name of a clip in the project panel
3) Copy (cntrl or cmd C) that name to the clip board
4) right click the clip and choose “relink”
5) then using “find” button on the windows side or the search tool (magnify glass field, if you’ve enabled in the mac os Prefs) on the mac you can paste the name of the clip in and use the search results to relink the media.
6) make sure you are relinking to live media and not the archive paths (based on 2 drive scenario as described in this query)
7) As assets are successfully linked, paths to the media are added as valid and any other project media found in those paths will be linked automatically. so you shouldn’t have to do every clip one at a time.

Obviously, the more scattered your media, the more paths you’ll have to validate. You also have to be careful of naming collisions. so initially, where you have a choice, it’s a good idea to have a naming convention that helps you identify clips uniquely. I say where you have a choice because a lit of file based media doesn’t give you that option.

Hope that helps….

Alex