[Ann Foo]

Awesome, thank you! Seems to do the trick 🙂

[Ann Foo]

Grrr, I only just found this reply but that’s the function I was looking for! But now I’ve just locked the film! Next time 🙂

[Ann Foo]

Ran a test with sound designer and confirmed its that old problem… ‘disabled’ clips in Premiere will not show up in an AAF. For that reason, I usually don’t ‘disable’ audio clips, instead I normally set audio levels to zero instead of disabling. Forgot to tell the assistant to do it this way, and getting stung at the end for it!

But, figured out a janky workaround based on your tip about using the ‘Simplify’ menu:

Duplicated my sequence. Selected all clips on the dupe sequence, and selected ‘enable’. This turns all ‘enabled’ clips to ‘disabled’ and vice versa. Essentially, making my dupe sequence an inverted version of my original sequence. Then, used the ‘Simplify’ menu to remove ‘disabled’ clips, thus leaving only the clips which were ‘disabled’ in my original timeline (that have now been ‘enabled’). Now, I can copy that and overwrite it into my original sequence.

Thanks for the brainstorm, def beats doing it all clip by clip!

[Ann Foo]

Already did this (as I said, I am working with an audio only sequence.

Just had a thought – I think the problem is that my assistant ‘disabled’ some audio clips during sound cleanup, and they are the ones causing issue. Is there a quick way to ‘enable’ all clips? If I select all and then click ‘enable’, it will enabled the disabled clips but simultaneously disable the enabled clips….

Just trying to figure out a way to save me doing this, clip by clip, on a whole feature film….

[Ann Foo]

Awesome, thanks Herb!

For anyone following:

The function is called ‘Select Camera [#]’. On my keyboard it is just mapped to the number keys, no need to hit the ‘command’ modifyer.

Still wondering if there’s a function that cycles through all camera angles instead of having to map each camera to a specific key… but probably not…

[Ann Foo]

I ran a test with a sound designer friend and sending to protools worked fine. Never want to assume they are grading in resolve so I always want to know if an XML will work, but that’s something I might test later down the track.

[Ann Foo]

We will continue the conversation privately on Linkedin. All I want to say here is that: most people are on this forum for technical advice, so it’s helpful to restrict your advice to that.

I think I already mentioned before: I’ve cut loads of scripted feature films on premiere before and didn’t have problems, so I guess our experience is different and hence your experience is not that relevant to me.

Ultimately, I realized the company had sent me a 5400rpm drive to work off and that was the main issue.

Thanks for stopping by.

[Ann Foo]

I wish I could use the proxy files as master files and avoid all these issues! But this is the company’s workflow…. probably because they are working off raw onsite (as they are exporting rushes screeners for the execs while I am cutting) while I am working from home.

Ultimately, you know what I figured out that made the difference? The hard drive they sent me was a 5400rpm speed drive. Did a data dump to one of my faster drives and it made a world of difference! Not crashing anymore.

The resizing problems are mostly fixed by detaching and reattaching proxies so that they’re not still trying to connect to raw. Didn’t bother trying to remake the proxies in 7k since you said you had issues at that res. Thanks for sharing your experience.

[Ann Foo]

Thanks for your reply!

My project is definately linking to the proxies, because I don’t have the RAW files and an I never did. I’m working remotely and downloading proxies.

However, I do think there’s some kind of bug going on, where it still thinks its linking to RAW. Which is causing all kinds of issues, like the video in the sequences coming from assistnats sometimes doesn’t display full frame in the sequence. The are sending me sync sequences which are 1080. If I link my 1080 proxies, then their edits should display full frame on my end. But sometimes they do and sometimes they don’t. Its maddening.

Maybe there are render or preview files that I need to delete to fix this bug? DSo you know how to do that?

I’m also wondering if I should try to get all the assists to work in 1080 with proxies so we are all working in the same format. It’s baffling to me that they’re working with RAW, but does this have something to do with their methodology of generating proxies from premier?

I’ll deliver in 1080 since that’s the res my proxies are in.

[Ann Foo]

Mads, you don’t have to tell me that I’m meant to be the boss and the assistants and assembly editors are meant to be helping me. This whole company has been wild.

Trying not to go on a rant, as an Australian living in Canada, things are done differently here. There’s cultural differences which get in the way of communication. The culture is non-confontational and one of agreement. You’re meant to fit into the system, NOT try to improve the system. Trying to make improvements will label you a troublemaker, and that is why I spent almost the whole of 2024 unemployed. Trying not to repeat that experience.

I’m desperately trying to find the compromise between small improvements which will save my sanity, and not being blacklisted for correcting their process. I’m not timid, or a pushover. But North American work culture is bullying and petty, and they don’t care how good you are. They care more that you fit in their system and don’t embarrass them by identifying the things they’re doing wrong. And in this situation, I am the freelancer and all the assists, assembly editors and DIT are full time employees, so whatever goes wrong, I am the easy scapegoat.

Sorry, I’m not understanding what you’re suggesting…

The RAW res is 7680×4320. They are giving me 1920×1080 proxies. But the clips still read as 7680×4320 in my project because they are displaying the RAW clip properties instead of the actual proxy properties.

Are you saying they should make the proxies 7680×4320, same as the RAW? Then the only different will be they are Pro Res LT codec.

And my Offline Edit project should all be in 7680×4320 (despite actually working with 1920×1080 proxies)?