[Alex Udell]

Hi Jimmy….

got ya…maybe this will help with some of the confusion

Sub clips in PPro (like in FCP) are “virtualized” in that they are dependent on the original media file and the frame constraints on them are only virtual. Hence this is why there is a function in a sub clip that allows you to re-access the original media frames if necessary. Really the function a sub clip is to make it easier to deal with LONG media files in the source viewer (marking and scrubbing with better resolution).

It sounds like what you ought to do is “Create a trimmed version” of the project via the Project manager (I think it’s under the edit menu).

This would create a new Project file and “consolidated” media set that you could then use as the basis of what to take into AE. Yyou should be able to do it via copy without deleting the original stuff to be safe.

There have been reported issues with this, for example, I know it didn’t used to support HDV (GOP based media) and I haven’t used it in a while. And I don’t know how well it plays with sub clips.

So you’ll need to try some tests I think to see if this is what you are looking for. But I think this is more of what you are describing.

Alex

[Alex Udell]

I’ll scratch my head on both of those.

Some thoughts….

Essentially….with sub clips, if you deleted (that’s delete, not “make offline”) the parent clip out of the project panel, sub clips would also go bye bye. By converting to a master clip, it’s now essentially and independent instance and the other master can be deleted from the panel. (note that I’m speaking of clips, not attached media).

Are you saying that it removes in/out marks or are you suggesting that it puts the clip back to the full media extents (frame range)? If the latter, it kind of has to do that. A master clip has a different icon in the project panel than a subclip. If it changes the icon, but didn’t put the media extents back, you’d have no indication that there was media beyond what you were seeing in the source viewer.

Your media management question is a good one. I don’t have an elegant solution for that one.

Todd?

Alex

[Alex Udell]

The Timewarps likely require rendering in PPro right?

It’s a bit of hack, but….

Is there any way you can force a render, then find the render in your scratch disk, copy and paste it to your media folder and import it into PPro and cut it into the timeline (even on its own layer)?

then you should be clear to pull that into AE.

I know it’s a hack….I know…..but it’s the quickest thing I can think of right now….

Alex

[Alex Udell]

Just started playing with CS Review last night.
Pretty cool.

Alex

[Alex Udell]

Hate to even have to suggest it….

but you might have to export/relay those timewarp clips as new media in PPro prior to moving to AE.

You should do this on a duplicate of your master sequence to avoid loosing the soft edits version.

out of curiosity,
Is this CS5 or greater?

What flavor of source media?

Are the ones that work a different flavor of media from the ones that don’t?

Alex

[Alex Udell]

The copy and paste method might be the best bet here.

1) In PPro, select the clips you want to use in AE from your PPro Sequence.
2) then choose Copy
3) Go to AE start a New Project, Create a new comp (of matching settings) and Paste
4) You will likely need to trim the comp work area down as AE will paste the clips at their positions in time and stacking equivalent to their respective positions in PPro.
5) Save that AE Project
6) If your intent is to dynamic Link, then jump back to PPro, and choose File>Adobe Dynamic Link>Import After Effects Comp and import the comp from wherever you saved the AE Project file.

By doing it this way, you should be able to create different After Effects Projects, each one holding different comps.

Feel free to chime in if I’ve got this wrong, but it should work.

Does this help?

Alex

[Alex Udell]

Have you installed anything new on the system between then and now?

[Alex Udell]

Video is a frame based medium.
Audio is based on samples which is many times smaller than a frame.

You can not edit video at less than 1 frame accuracy.

Premiere is capable of shifting audio at the sample level.

You might consider shifting the audio if it’s really necessary for what you are doing.

Alex

[Alex Udell]

Hi Carly…

As far as rendering in PPro during the editorial process, Adobe, to my knowledge, hasn’t introduced a workflow that allows that to be pushed onto another machine. The way to minimize that (not eliminate it) is to develop a plan about how footage is acquired, and look at systems that spec out to take as much advantage budget wise to Adobe’s mercury playback engine and include appropriate graphics hardware in that design.

As far as exporting once the Project is complete, that’s really what I am talking about in my description in the previous post.

You’re offering a couple of conflicting ideas that I can’t seem to reconcile. 1 is that you’re editor workgroups aren’t online, 2 you’re worried about bandwidth?

What I assume you mean is that you’d prefer your editors not to be generally exposed to the internet, yet they are connected, as they probably use services like e-mail and Instant messaging for interoffice communications.

So I suppose there are a couple of solutions to this.

Once is to equip the editing systems with ethernet cards in addition to what’s likely built into the motherboard of each system and set it up IT wise so that editing workflow and workgroup traffic is on a hub that connects just the editing systems together or a router that is smart enough to segment traffic based on either a dedicated subnet or group of IP addresses.

This goes hand in hand with the idea of moving storage in general off each local machine and onto a centralized storage device, like SAN. I’ve been in several different SAN environments both PPro and FCP based. SOme based on SAN MP and some based on Facilis Terrablock.

This can allow for common libraries of audio video elements to be accessed by the group simultaneously and projects (with associated render files, to minimize re-rendering) to be moved from machine to machine pretty transparently. Based on threads I’ve participated on here there were some SAN issues with CS5 not sure if these have been remedied in 5.5 or not.

What this comes down to, is that it looks like you may need to enlist some local professional help once you start moving past this simple things you can try. IT expertise is money well spent. but I suggest looking at someone who is an actual video systems integrator, not a traditional IT expert. There is a lot to understand about the workflow of Video post and that type of software specifically that is outside the knowledge of traditional IT. It can make all the difference when it comes to troubleshooting and support.

I know that’s open ended…..but I hope that gives you something to consider.

Alex

[Alex Udell]

The simplest way is to share the drives the machine was originally created on to the machine you want to render on. In doing this, it’s helpful to map the drive letters to be the same (if possible).

So if your video was on drive V: on the original machine, set the mapped video drive to V: on the networked machine.

This will ease re-linking media files when you open the project on the other machine.

I don’t know what you mean by rendering…it could mean that you want to “render” the timeline for playback, or it could mean “export” to a file. But I’ll guess it’s the 2nd one.

Alex