Alex Udell
1
Premiere Pro Coin
Forum Replies Created
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I don’t have a full answer, but I found this interesting, so I thought I’d contribute to the conversation.
Please know that a “watch folder” or a source in AME can have any number of presets applied to it. So one master file IN to any number of OUTS each of which can include any settings you want.
So, based on what you are asking, the challenge is in authoring the settings.
Once they are created, you can add them a watch folder and should be able to process.
Doing some digging I opened AME and chose a preset I created and revealed it in the OS (.epr file) by right clicking it.
I opened it in a text editor and low and behold:
the setting itself is an XML file.
So it should be possible to start from an XLS or CSV and have a script generate a batch of .EPR (settings files) that can then be imported into AME. I’d give them a similar naming convention so they sort together and can be sifted easily in the user setting panel.
But then you should be able to bring a source into AME (or work via watch folder) > then drop the batch of settings on it…and get your outputs going.
It’s good practice to set your prefs for your output destination PRIOR to importing your first assets into AME…
Does that help?
Alex Udell
Editing, Motion Graphics, and Visual FX -
If you are using FCP keyboard shortcuts…
you park at the head of a clip and hit “F”
this will match you back to the source (as marked, I think) in the viewer.
from there you should be able to patch your tracks in the sequence and there is some sort of “replace” edit you can do via right click on the clip in the sequence (i think)…
not exact…but should start getting you going…
Alex Udell
Editing, Motion Graphics, and Visual FX -
1) You can ingest to a new named FOLDER and it won’t rename files. But al teast you can find things in the file system related to however you choose to organize it.
2) if you use transcoding while ingesting (say to a .mov format) then you can name the file whatever you like. organize however you like, do partial ingest if you wish. It’s just not native anymore. This would be similar to “Log and Transfer” in FCP 7. I suppose you’d need to make sure that you destination format supports the number of audio channels from you source…
Alex Udell
Editing, Motion Graphics, and Visual FX -
hi….
a couple of choices come to mind.
1) Prelude – thru some of the transcoding options would allow renaming during the transcode. This would entirely preserve your source media set but give you a new set with whatever names you wanted.
2) Adobe Bridge has a pretty robust toolset for batch renaming files which would allow you to keep the original file name as part of the new file name. Or (if MTS allows metadata embedding) changing the file name while keeping the file name in the embedded metadata (which can still be seen/searched by Bridge). This also assumes that the .mts files are self contained audio video files and not part of a structured media set (like MXF).
As with ANY of this….renaming and organizing media should be done PRIOR to use in PPro. I’ve seen som threads here where people decided to do this after starting a project. Not such a good idea.
So I suggest some testing….see what works for your flow…then push into a real project.
hope that helps….
Alex Udell
Editing, Motion Graphics, and Visual FX -
If you have connected the chassis, and it’s connected via a dedicated card (Host Bus Adapter) ….and you are setting up the RAID configuration thru that cards software….then it’s a hardware RAID.
That means that card is responsible for the overhead of managing the read/write to the storage and your CPU’s won’t be burdened with that.
This leaves them free to do other things…like focus more on PPro…
and decompressing compressed file streams (like H264 and AVCHD, etc)
so it should help.
But typically it also means that the data is written to the drive in a way that the HBA understands….so if the card is not available (fails) the data is also unavailable….so having a mirror somewhere is helpful in case you get stuck….
hope that helps…
Alex Udell
Editing, Motion Graphics, and Visual FX -
Hi Gerry…
I think the RAIDS will give you great performance to read multiple streams during editorial….
I’m not sure you will see a marked export benefit.
Alex Udell
Editing, Motion Graphics, and Visual FX -
Can’t you do a “Project Manage” and achieve that result?
Alex Udell
Editing, Motion Graphics, and Visual FX -
This has been brought up for a few releases now.
It does seem odd that this would be difficult considering that unlike FCP7…a clip on the timeline HAS to be in the PPro Project panel. So there is obviously a connection.
make a feature req….to add a “vote” to get that fixed…
Alex Udell
Editing, Motion Graphics, and Visual FX -
Nesting is one way to do this.
then you’ll have a corresponding sequence in your project panel that you can drop into any timeline…
if you need to expose the edits again…
just flatten that instance the of the nest in the sequence you’ve dropped it in…
make sense?
Alex Udell
Editing, Motion Graphics, and Visual FX -
This is not very easy…..(because there is no decompose option in PPro)
You could:
select all and copy all clips from your sequence…
jump to AE and make a comp that is the same resolution as your sequence.
paste all your clips into the AE COMP…
then use this AE script from video co-pilot(install this in AE first): https://www.videocopilot.net/tutorials/trim_compose_script/
to precomp all you clips in the AE comp….
(this will allow you to precomp and trim them with optional handles)…then in your AE Project panel you should be able to select all your precomps and send to batch in Adobe Media Encoder to create your low res proxies…(note that I’d open AME 1st and set your destination preference and you select your encoding preset…so that it will get applied to all the incoming comps.)
that will allow you to make a low res set of media….but doesn’t do any linking to your sequence in Ppro or anything….
does that help?
Alex Udell
Editing, Motion Graphics, and Visual FX