Alex Udell
1
Premiere Pro Coin
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Does the capture scratch timecode in the XML line up with the MXF timecode?
ugh….
Alex Udell
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Hey Chris…
In PPro…
multicam is handled as a nested sequence.
so those synced clips ought to end up as vid tracks in a sequence.
When that sequence is then edited as a Nest into another sequecne, right clicking it will allow you to enable multi camera operation from the pop up context menu.
also the wrench in the record viewer will allow you to display it as a multicam viewer so you can see your takes side by side.
There’s a few ways to handle audio.
If the audio is camera specific, then there are options for audio to follow video when making the select.
if this is not the case is my preference to edit the audio into the master sequence….reason being….nested audio doesn’t generate waveforms in PPro….
so it may not be as refined as what you are used to….but you should be able to get the job done.
check you keyboard shortcuts, as you can use them to switch cameras (optionally in real time while playing back) to make the primary cut…then refine with roll edits as needed.
hth,
Alex Udell
Editing, Motion Graphics, and Visual FX
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Marker panel navigation will work if makers are are the sequence level….not the clip level…
and you can set makers to ripple with trimming….
this might get you closer to where you want to be…
(I can see why this might throw the system a curve…how do you tell a cursor that’s looking at sequence time to jump to a timecode that exists independently inside of a clip? What if that clip and marker is on the timeline more than once? how would it know….I’m not saying it doesn’t exist in other NLE’s….just looking at it from what I see…that’s a hard one to solve.)
Alex Udell
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Yes…
assuming that your audio is laid out with music on separate tracks from the dialogue….
Jogen is right,
you can adjust the entire track…instead of each clip…
Alex Udell
Editing, Motion Graphics, and Visual FX
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Hi….
such a tough situation.
But scaling down from 4k to the deliverable in your case may be the solution.
You could look at the detail preserving upscale filter in AE to process your non 4k material
https://helpx.adobe.com/after-effects/using/detail-preserving-upscale-effect.html
maybe batch that material out to a 4k set….
you’ll have to be the judge there….if future proofing is that important to you.
Alex Udell
Editing, Motion Graphics, and Visual FX
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hmmmm….
does any ftg of primary story content come at a majority resolution?
I dont think PPro is so smart to do sort of double check conversion up and down on export like you are suggesting.
is it possible to work at 4k, and treat/frame the non 4k material in a way that will require less scaling up (framing it someway)? In that case you could work at 4k and do a 1080 delvierable…
just spit balling here…
Alex Udell
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Hey Guys….
there has been a lot of debates over the history of NLE’s as to whether the time line cursor is looking at the incoming frame or the outgoing frame…(some systems even let you toggle this)
I think that this is an indication that PPro is looking forward.
if you are zoomed in where you see that…
and you mark an OUT, you will see that it actually adds it one frame hash to the right of where the playhead is parked…
so the out point is inclusive of the frame where the playhead is parked…
it’s a bit of a nuance….but has caused a lot of disussion over the years.
🙂
Alex Udell
Editing, Motion Graphics, and Visual FX
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Hi….
The best argument you could make is that PPro is rapidly becoming a standard, which means more people know it.
It probably has better format support than Elements for both input and export so depending on all the places footage is coming from, and all the places you want the work to go, it may be a more robust choice.
Are there any examples of their current work you can share?
Seeing what they do might be helpful.
Knowing that you can better teak colors quickly and precisely (lumetri) to make the final result better (let’s say, make the sky bluer) could be a good practical example.
The hard part for them will be that it’s a ongoing cost as opposed to the one time purchase they already made.
hth,
Alex Udell
Editing, Motion Graphics, and Visual FX
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Hmmm…..
that does seem odd….
are you transcoding/trimming?
it may be if you are going from something like a h264 to a Prores…
your data set could potentially be larger…
certainly the number of files would be greater, because you are ending up with a file for each cut.
Alex Udell
Editing, Motion Graphics, and Visual FX
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Hey Ryan….
unfortunately I don’t have any insight to the scripting in Ppro…
and I looked a while ago as well….lack of documentation may be intentional at this point….as it might not be as mature as what you’d find in AE.
but if you are looking for a project system take a look at this:
may be of some help….and you might not need to code at all…
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