[Ann Foo]

Go to Preferences – Memory
There you can allocate how much RAM you want Premiere to use (I’ve got 11GB assigned to Premiere and 5GB assigned to other applications). You can also also Optimize Rendering for Performance (rather than Memory)

[Ann Foo]

I’ve done this on a few projects. My assist imports and syncs rushes, then I import his project into my main master project to cut with.
In the Master project, click Import and select the asssist’s project.
You will get a pop-up asking if you want to import selected sequences, or the whole project. I select the whole project, and tick the box saying ‘create folder for imported items’ and untick the box ‘allow importing duplicate media’.
That way, if you import the asisst’s project every day there are new rushes, it will not re-import the old rushes you already have in your master project.

[Ann Foo]

So the wireless keypad does not have a separate numeric keypad? you’re using the number keys above the QWERTY keyboard? I think this was a known issue on Avid, which is why a lot of people opted to buy full keyboards with numeric keypad.

[Ann Foo]

This is doable. Hover your mouse over the track you want to minimise/maximise (NOT on the timeline, hover over the control panel on the left, where the mute/solo/toggle etc controls are). Scroll up or down on your mouse to minimise/maximise the individual track you want to change the height of. Not sure about keyboard shortcuts, I don’t use this feature enough to give it a shortcut.

[Ann Foo]

Thanks Bill, I have just discovered this! (on media composer 8.5)
Is there a workaround here or any alternative built-in title option within Avid for temp titles? I got an error message prompting me to install NewBlue titler, which I did, but this is a seperate application which I don’t really want to learn for the sake of a temp title since it will get re-done by a motion GFX artist anyway. Surely there must be a built-in option for 4k projects within Avid?

[Ann Foo]

The way I work is I’d quickly cut an assembly from pulling out soundbites from the transcribes, and I’d constantly refer back to the transcribes throughout the edit as the film takes shape. Not a paper edit as such, but… sort of. At the same time, I DO want the conveinience of being able to vision mix between A and B cam in the multiclip.

There are about 20 clips on each camera… it’s a good suggestion, making each sync clip a standalone sequence. That’s more similar to the way I’m used to working (with several group clips), and makes all the metadata easier to find and avoids the use of too many video filters. I’ve already started cutting with my compiled timeline and I’ll keep on this workflow and see how it goes and if there are any advantages, but next time I’ll probably sync out each clip seperately, that just seems to make more sense to me. I used a compiled timeline because that is the workflow that was suggested for multicamming on all the Premiere forums. However, it occurs to me that the people suggesting this workflow might not have been working with transcripts or cutting doco.

Is anyone cutting Reality TV or doco on Premiere? I’m intrigued about what the standard professional workflow is for this type of program on Premiere.

[Ann Foo]

Thanks again Alex!
Adding another video track is a good idea, but sort of defeats the purpose of creating multicam clips, as if I was going to work with 2 video tracks I could just use the original sync timeline from plural eyes.
The only issue with adding the video filters you’ve suggested is that applying so many filters might make playback chugg a little… I’ll see how my system handles it and if it’s all too painful, I might give up on this whole multicam workflow and just work with multiple video tracks. Wish me luck 🙂

[Ann Foo]

Hey Alex,
Great fix, thanks for that!
Now, the only thing missing is the source file name… I’m able to find it by match framing the multicam sequence twice, but that’s still a bit cluncky and I can’t reverse match frame back out to my multicam sequence once I find the source file I want. Would be nice if the ‘timecode’ effect had a ‘display source file’ modifyer so that all this metadata could be displayed onscreen of the multicam sequence, but I can’t see anything to this effect.
Thanks again, sorry for delay in response, I am cutting on the road!

[Ann Foo]

Thanks for that Kevin. I wait with baited breath…

[Ann Foo]

On FCP 7.0.3 and still having this problem!

I’ve worked out a fix… it’s very clumsy but if you already have 3 hours of rushes sync on a timeline and you don’t want to have to throw that work away, this is probably a workable bandaid.

The bug occurs when you subclip something originating from dual audio/video sources. So instead of making subclips, make a MERGED clip.

1. On your sunc timeline, trim in and out points of audio and video so that they are the same duration.
2. Grab both clips from the timeline and drag and drop them into the browser. They will appear as new, seperate audio and video file.
3. Highlight them both (they should already be highlighted), right click and select ‘Merge clips’ from the pop-up menu
4. Best to delete the 2 audio and video files you used to make this clip, to keep things tidy.

If anyone has a more elegant fix, please post! But in future, I would recommend using Avid for projects involving dual audio and video originating on different sources.