Alex Udell
1
Premiere Pro Coin
Forum Replies Created
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Dave…
without it enabled…you can still use markers within project (I think….)
but if previously marked media is imported to another project (from the file system..as opposed to importing from another project) then the marks won’t be there…(I think)…
Alex Udell
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Hi,
shots in the dark…
Check PPro >Prefs>Media and see what’s enabled re: XMP metadata…
if you are adding clip markers to a media file that supports XMP embedding (like .mov AND that feature is enabled)….that would qualify as a change…
Also…via some detective work….
Do the Last Modified dates on media change?
Maybe change the imported media to READ ONLY at the file system level?
Alex Udell
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Randy…
look at this:
https://www.youtube.com/watch?v=seiELRqeYBs
of particular interest to you….
the section at: 1:50
see what you think….
Alex Udell
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Hey Peter…
take a look at this thread…
would setting up the project as team project where each editor could reference the same media on the SAN thru their pathing mechanism (per the Mac versus Windows OS) be a solution here???
Alex Udell
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Hi Randy….
Yeah…..it’s not the formatting of the volumes….(NTFS)
it’s how the pathing gets interpreted on each system…(I think)…(see previous)….
if you use the import (via media browser…again see last post) of the updated version of the edit between two Projects (a Mac one AND a WIN one)…
then you’d only be re-linking what’s been added in the last iteration….
see what I’m saying?
OR
otherwise the only other thing I can think of at the moment…is to project manage to a folder before passing the project to the other user…then when you would go to connect…you’d only have one folder to point to…and PPro would just “find” everything there….
because ulitmately the facilis can still keep the original stuff spread out across a variety of a volumes for general usage…
maybe you make a “project” volume that you each collect to before passing the project back and forth…
you’d use extra space while working on the project BUT… you can always kill the project volume at any time…because it’s merely a convenient “temporary location” to ease the burden of relinking and the original assets would still live in their other volumes however you have them organized on the SAN.
this is an important point…when bringing in new assets DONT INGEST them to the temp collect location. put them in an organized spot in your library…ONLY use the temp collect as the mechanism of working between systems.
that help?
Alex Udell
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Hmmmm….
Premiere uses the file path to find media.
Volumes from the Mac side would have a volume path designation.
/Volume/Media/projectVolumes on the windows side would end up with a letter designation.
Q:\Media\ProjectSo if you are moving a project back and forth…
the pathing designation changes because of the way the OS handles the paths….are you formatting the Facilis Volumes for each OS? Or do you have multi-write and are handling OS formatting thru the Facilis?
when passing the project back and forth…are you adding a lot of media with each iteration? OR are you refining the edit?
If you use the media browser panel to import material (like an edit) into a project where the media already lives….PPro would try to use media it already sees to avoid media asset duplication.
As a side affect of this workflow, this MAY also help alleviate relinking issues you are having.
Part of this may be tied to Preference>Media “Write XMP ID to files on import” in PPro. These ID’s (invisible to users) help PPro to uniquely identify files. It’s not the ONLY criteria PPro would use for file matching….BUT…it certainly is a helpful one. I point this out, because not all media formats allow the writing of Metadata into the file headers. Quicktime is one of the formats that support this. So you may want to do some testing and see if you can nail down a workflow that resolves this with smaller test media sets.
hope this gives you some clues….
I’ve used the Facilis. And I’ve used it in mixed environments. But I’ve not done a lot project cross platform migrating in that environment.
Alex Udell
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In the Wrench Icon of the source viewer
In the Wrench Icon of the program viewer
In the Panel Menu of the Sequnce panel
you can enable “Show Audio Time Units”
this allows you to work at the sample level.
However….it adds some overhead…so I recommend only using it when you need it.
Alex Udell
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Yep…I agree…
they have different origins.
Interchangeable?
Sure they have….the AE and PPro project cores were aligned at the development of CS…
I can select clips and sequences and copy and paste from one application to the other all day long…
and many, many attributes are carried over.
not to mention project level interchange….
it CAN be done…but as you often point out…IF it will ever be addressed is an entirely a different scenario…
🙂
Alex Udell
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hi….
fit to fill is constant speed changes…
time re-mapping is ramping….PPro has ramping…
it’s best handled by enabling the curves on the clips in the timeline….
but even there, it’s pretty cumbersome… when playing the clip forward….
try to work out some complex forward and reverse compound time mapping? ugh….pretty painful…while many times I agree that heavy duty fx should be delegated to AE…
here….I have to say that speed changes can be related directly to pacing an edit…and well…that’s editing…as a feature, it should be available in both tools.
it should be cross compatible in both tools….(if you do something in PPro, it shouldn’t be lost in the translation to AE)and it should have a better interface and workflow.
that’s pretty much my .02.
And I otherwise enjoy many things about PPro…but this ain’t one of them.
Alex Udell
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discreet edit* had super simple time remapping that was really teriffic…
X-Y axis Graph
Y Axis = media frames
X axis = clip segment time
Add keyframes where needed, drag keyframe to desired position to show the media you needed to see at that point…
super simple ease curve handles…
miss it lots….
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