Alex Udell
1
Premiere Pro Coin
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Right…
FCP dealt with stereo as split track.
PPro doesn’t do this by default.
You can interpret your audio to be dual mono in the project panel so that it will drop to the timeline that way if that’s really how you want to work. but Fill should do it. Since the affect is applied is real time….it doesn’t not modify the wave form drawn on the timeline. That’s looking at the underlying source file. But don’t let that confuse you. With the Fill effects what you will be hearing is the chosen channel only routed to both channels of the clip….
—–
if you really want to interpret your clips as dual mono…
right click clip(s) in the project panel…modify…audio channels…
channel format mono
choose one channel or the other…OR set the number of channels to 2 and use both…
if your intent is to apply effects in the timeline to clips when you have both discrete channels in the timeline…note that ppro will be dealing with them as separate objects at that point….so that’s why it’s not really ideal….compared to what you are sued to with FCP…
hope that helps…
Alex Udell
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Hey….
if you only need one of the two channels…
rather than splitting it out….
go to you effects panel
search “FILL LEFT” “FILL RIGHT”
these effects will fill the audio of the clip with one or the other of the audio channels…
should help you in this case…
Alex Udell
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Hi….
The answer might be After Effects.
Less prone to having to deal with the conform issue.
Import it….find the sections you want…
export as new clips in a friendly codec.
Alex Udell
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Hi…
I tried running:
PPro
2015.1On my
Mac Pro 3,1
OSX El Capitan 10.11.2
16GB Ram
Nvidia GeForce GTX 680I could not get continuous playback of any source. Play back would just pause intermittently for no obvious reason in both source viewer and sequence, regardless of quality settings.
Same source material plays back fine under PPro 2014.1
This has been reproduced behavior by other team members in my group with similar configurations.I have reverted back to 2014.
Alex Udell
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Hi Duke..
Bit Depth generally refers to how color is quantized during capture
think of a RED , GREEN, and BLUE stripe. Each stripe goes from a the darkest value of that color to it’s lightest.
The higher the bit depth, the more steps or divisions in the stripe.
8 BIT = 256 steps (gradients) per stripe
10 BIT = 1024 steps (gradients) per stripe
so…..the higher the bits….the better the fidelity possible.
I’m not sure what the division is between low and high….
but I’d assume at this point 8 and 10 are probably low, 12 and above ae probably high.
here’s another link for your review:
https://blogs.adobe.com/VideoRoad/2010/06/understanding_color_processing.html
Alex Udell
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Hey Duke….
maybe I shouldn’t shoot form the hip on responses like that…
I think this thread explains it better than I can.
https://forums.adobe.com/thread/1030828?tstart=0
Alex Udell
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Hi Jessica,
Good!
With regards to overall workflow…
There are a number of ways to pass work to AE from Ppro….
1) AE can simply import a PPro Project and understand your Sequences as AE Comps. This would require that the VFX artist would have complete access to all media.
2) You can copy and paste clip(s) between the apps. So you can create corresponding comps in AE that relate to the VFX shots in your edit. This would be a manual approach. And probably require some “file collects” to be done in AE if your intent is hand off the media.
3) You could duplicate your edit and use the “replace clip(s) with AE comp” function in the timelime to create AE project/comps. This would simplify the creation of the shot setup. All your VFX comps would be in one AE project (or however you choose to organize it)…and you could file collect that to hand off to your VFX person.
In this approach, you’d sort of be using half of “dynamic link.” Use the part that creates the AE comp…but the VFX person would essentially be handing you back a render you’d need to cut into the timeline. As you cut FX back in, you might take the additonal step of nesting the AE COMP (placeholder) and it’s render. in this way if you getr versions you can replace them (or stak them) in the nest and still only have one clip object in your master edit.
Sorry for all the additional….but since you are an experienced editor, but new to PPro….thought it nice to know some workflow options…
cheers…
Alex Udell
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Also….
Max Render Quality is not needed, really.
this might help further.
Alex Udell
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Hi Jessica…
I can’t say I’ve had enough day to day with the codec to give you definitive feedback.
I know Adobe strongly supports it because they wanted something that was cross platform, and wanted optional alpha channel and hi-res, support.
So it does fit that bill.
PPro and AE should read it natively, so transcoding shouldn’t be necessary to work.
that being said
take a look at this:
https://www.hackermovies.com/intermedia-codec-test-prores-vs-cineform
Not quite sure what to make of it…but since VFX is part of your consideration (which likely involves grading)….this might provide some helpful insight.
hth,
Alex Udell
Editing, Motion Graphics, and Visual FX
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Hi Jessica….
Is the question about the ftg itself or more about the pipeline for the work?
Knowing more of what you are looking for might get you some answers.
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