[Ann Foo]

I think what youre trying to do is (in avid speak) consolidate. In Premiere speak, it’s called Project manager.

So in your Premiere project with the sequence that was created from the FCP7 XML, click ‘File’ and select ‘Project Manager’. Select the sequence you want to consolidate.
Under ‘Resulting Project’ you have 2 options:
– ‘Collect files and copy to new location’ – this will copy the full original camera rush to a new location
– ‘Consolidate and Transcode’ – use this option if you want to take ONLY the media used in the cut, with handles (there’s an option somewhere that will allow you to specify how much handles you want) and/or if you want to transcode the footage. This option is best to conserve space.

[Ann Foo]

I’ve been having this bug lately when Premiere doesn’t play sound from the sequence when first fired up, even though the audio meter is reading sound. I do a few things to ‘remind’ premiere it has sound – match frame a clip from the sequence to play it in source monitor, toggle ‘solo’ on one of the tracks in the sequence. Seems like trying to play isolated sound is easier when premiere is first fired up… after that it behaves as normal.

[Ann Foo]

Ok, so if it’s not a music video clip, then as Brent says, there is likely a discrepancy between the frame rates of your audio and video. They won’t sync until you make them match.

[Ann Foo]

Just to clarify, it’s not really a LUT. Its a type of colour space. So what you actually need to do is manually choose a Log colour space instead…. it’s not an effect that you can remove. I’ve actually been meaning to ask a camera person if this is metadata that can be set in camera… so that all the files are instructed to display in Log automatically. Because there is not batch way to change the colour space of all the clips in Premiere sadly.

[Ann Foo]

Just an idea, sorry if already covered, I didn’t read the whole thread….

But someone mentioned they were using multicam sequences/clips, which would probably give you a new timecode. So it’s best if you ‘flatten’ all multicam material in your sequence before creating the XMLs, which will brea the multicam material down to its original source video, which should have the correct timecode.

[Ann Foo]

1) Not sure what you mean here… you mean you want to use both 4k version and HD version of the same source? The only way to do that is to import 2 versions of the source material into your project (a 4k version and an HD version)

2) Yes, you can resize your HD proxy shots and then just offline the master clip and relink it to the 4K. Any resizes you applied to your sequence will be retained.

[Ann Foo]

The first question is, why do you need to sync audio for a music videoclip? Shouldn’t you just put the music track on it and completely disregard audio?

Second question, why did you import audio at 16bit if it was recorded at 24bit? As previously stated, it’s best to import at 24bit if recorded in 24bit.

This is my guess about what is happening: It’s a music video. They might have shot the video in slo motion (as is often the case in music video). So, the audio will always drift. Because audio will always be recorded in real time. In this case, don’t bother trying to sync all the audio files. If you need to use one bit of audio, just grab it and throw it in your cut, but you’re wasting your time trying to sync full audio rushes if the video was all shot in slo motion. Either that, or slow the audio down.

NB. I know you say the video was shot at 29.7FPS so it doesn’t look slow motion. But sometimes it appears that way in Premiere and needs to be manually interpreted at 60FPS or whatever to slow up properly. You should check with the cine what frame rate they shot at.

[Ann Foo]

Can you put the TC effect on a 4K clip, resize it for that format, copy it, and paste it to all other 4K media (thus also copying the resize parametres)? I haven’t tested this, just thought it could work.

[Ann Foo]

This makes perfect sense… the point of Queue is that it enables you to keep editing while rendering a sequence in the background. But it is probably allocating more RAM and processing power to editing functions rather than background render, so obviously the render will take longer than if you direct export. So the rule of thumb, if you want to prioritise your export, use Direct export. If you want to keep working, use Queue, but know that it will add time onto your render.

You can also Preferences – Memory and Optimise Render for ‘Memory’ instead of ‘Performance’. But switch it back to ‘Performance’ for editing.

[Ann Foo]

I don’t know CS5.5 very well, but I wonder if this is due to the 2GB file limitation on OMFs… that is why I switched to AAFs instead. But if you must stay with OMF, try breaking down your sequence into 10min chunks so you can be sure that your OMFs are under 2GB.