[Alex Udell]

purely guessing…

Have you tried a clip in PPro?

and check the interpret settings for the clip prior to dropping it in a sequence to see what’s available….

Alex

[Alex Udell]

take a look at this 3rd party solution

may help:

reLink reTooled
https://www.retooled.net/?page_id=784

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Can you select the elements in PPro sequence, copy
and then paste into and empty comp (correct resolution) in AE?

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Agreed!

I enjoy the fact that when deadlines are furious and I have footage coming at us from all over the place from every camera….

I can just prep the project. pass it to my artist and they can just work.

I am almost never concerned about how material was shot.

🙂

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Awesome reply Walter!!

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

kudos to asking at the outset….researching a pipeline for chunky project should make you confident and pay dividends over the course of post!!

here are my thoughts…(opinions only….so ask more ppl, plz)

1) while editing 4k does give you some future proofing, I’d consider the quality hit you’d take upconverting the non 4k material.

2) editing HD gives you reframing capability of the 4k material. sometimes this cane helpful to cover something or reposititon something to better emphasize the subject matter.

3) native versus transcoded….as premiere does support native, it’s not “necessary” but it’s my understanding that sometimes performance can vary with formats as projects get heavier. ( And the hard drive space and horsepower necessary to work with it. (particularly R3d native).)
You might consider a common codec simply due to the fact that this is likely a long term project and you may not know yet where your entire pipeline is going to take you….it may not be to “finish” in the adobe suite. So I’d ask about which codecs perform best with a large volume of material, and balance that against the finishing team. A saving grace is that now PPro offers the ability to transcode and consolidate a sequence right from the timeline to a different codec…so if you get to picture lock and want move to a different pipeline for grading….it should be easy to get to a common acceptable codec. You MIGHT look into PPro’s new support for the GoPro Cineform Codec.

All of this is discussed here:
https://helpx.adobe.com/premiere-pro/how-to/consolidate-transcode-mixed-formats.html
and here:
https://helpx.adobe.com/premiere-pro/using/gopro-cineform-codec.html

4) PPros timeline presets are really to give you a starting point based on the material you are starting from. PPro really doesn’t care about the codec as much as you deciding on a frame rate and resolution. From there it can handle everything. Some things to note though….check you prefs carefully about how you want to handle importing material and upscaling and sown scaling when you place it on the timeline. Much of this flow should be decided before you start committing material to the timeline…because it bad be tricker to globally change later if you decide you want to handle it a different way.

hope this helps arm you with knowledge towards a decision that works for you.

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

How do they play on your machine?

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Hi…

Sequence rendering computes a top down or output render. When computing the render.

So really in the green bar the only thing that would be visible would be your top most track….

and this render really would not help your multi cam edit timeline. It’s not reading the output of that timeline (as a sum) but rather any given track within it at any given time in the edit.

If you really want to pre render your cc…dan’s right you need to export each track individually….or you can nest each track in your multi-cam setup and render each of those individual sequecnes… that would do it as well.

hth….

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

Pemiere will use multiple path ways to decode an image…(part of what makes mercury mercury)

in this case it looks to be basing that on the extension (the first thing it finds)…

so it sees .mov….it uses the quicktime library…

but since in this case it’s only a soft wrapping of the data….and you can still get to i another way….

Premiere can interpret the native data bypassing the quicktime wrapper.

As a side note…

This might even provide better performance as well…as quicktime on windows uses a 32bit path, not a 64 bit one…..

nice detective work!

Alex Udell
Editing, Motion Graphics, and Visual FX

[Alex Udell]

OMF shouldn’t pass any FX as those filters are specific to PPro.

PPro export includes option of copying the Complete audio

no edits — you’ve done edits…but my understanding is that with complete audio copies, the OMF will include a complete audio file for every usage of a piece of media in the timeline (even if it’s the same source used ore than once)

fades — you probably need to take your picture lock timeline and dupe it and prep it to get rid of any offline key level key framing you may have done…I don’t think fade transitions would translate anyway…

but to be sure….before you invest a lot of time prepping….

dupe your sequence and cut it down to a short but complex area….prep that…

make an OMF and pass it…

see what they get on the other side…

work with the engineers and they’ll tell you what you need to adjust in your prep.

may take a few times thru….but ought to be workable…

all about developing the pipeline….

Alex Udell
Editing, Motion Graphics, and Visual FX