Angelo Lorenzo
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Highlight multiple clips adjacent to each other, right click, select speed/duration, adjust to your heart’s content and select ripple.
Beyond that, if each still needs to be a unique duration then you’ll have to settle for manual adjustment.
Alternately, if you have After Effects you can do some scripting because you can tell the script okay, make layer 24’s duration equal to layer 3.
It could also just be a workflow issue. Maybe you can elaborate as to why these titles are locked in time to force you to adjust the more granular slideshow cuts.
Angelo Lorenzo
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Anything Windows Media Player can handle out-of-the-box. WMV would be a safe choice, as mentioned.
Angelo Lorenzo
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Just looked it up, had no clue OSX does percentage per core. Windows does percentage total, including all cores. Learn something new every day.
Angelo Lorenzo
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https://aeportal.blogspot.com/2012/11/after-effects-weekly-roundup_1.html
Angelo Lorenzo
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The readout itself seems like a bug with OSX. You can only ever run a CPU at 100%.
With that said, there is little to no danger in running your processor like that. If you’re computer isn’t adequately cooled then your CPU will throttle back (become slower) to allow itself to cool. All modern CPUs do this.
Angelo Lorenzo
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So try a log & transfer in Final Cut? Compare results. If that works then dump Pav Tube (probably not the best choice in the first place; a lot of copy-cat programs that do this sort of thing. Xilisoft comes to mind and they’re just front ends for kind of dubious conversion utilities).
Angelo Lorenzo
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Relinking shouldn’t be terrible. If you use the Project consolidate features so everything is nice and in one spot for the transfer, the worst you should have to deal with is telling Premiere on Windows where the files are since Mac doesn’t store a drive letter in its paths. Pick one file it asks for and it will find the others recursively.
You may also have to wade through some “plugin missing” warnings depending on what effects are on your projects.
I haven’t tried CS4 > CS6 but Adobe is pretty good about backward compatibility (forward compatibility, not so much).
Angelo Lorenzo
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File > Import > Select your DPX sequence and tick “image sequence” in the file select box. Add the soundtrack files as appropriate (DPX does not store audio) and export to whatever Quicktime codec you need to deliver. I would assume you’re doing it for a specific purpose so there should be delivery specs like what size, codec, quality and so on.
Seems simple enough. Or are we missing some part of the story that makes it more complicated than face value?
Quicktime is simply a container, so without knowing the purpose for the delivered file, no one can give you an export suggestion if that is also what you’re asking.
Angelo Lorenzo
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Why not keep them as-is? Premiere performs more than decently with native codecs so why create more work for yourself?
If you’re looking for an editing/intermediate codec, like maybe you’re editing on an old machine or on the go with a laptop, there is always:
Prores. Mac-only encoding – at least officially but there are other encoders. The disadvantage is that these encoders don’t use Premiere’s interface
Avid DNxHD. Free, cross platform but the settings can feel a little strange
GoPro Cineform. Cross platform but not widespread.
Angelo Lorenzo
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Fallen Empire Digital Production Services – Los Angeles
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https://www.synthetic-ap.com/ They make an excellent plugin called Test gear which adds vectorscopes, waveforms, etc to After Effects. They are UI panels, and not an effect that has to be entered like Color Finesse. For $100, on a large project, you’re probably saving that money in the amount of time saved.
I use it for smaller projects where moving to Speedgrade or Resolve just doesn’t make sense.
Angelo Lorenzo
Love my answer? Do me a huge favor and check out my Kickstarter project The Librarian, starring Jennie Garth of Beverly Hills 90210.
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks