[Brent Marginet]

First let me just say that RAM always makes a difference. All my machines have 128gb of RAM except for the one I use the least and that one has 64gb. I would say that if you can afford it go to 64 as well. Second set your Playback Engine to Open CL if you have an ATI or AMD Graphics Card. If you have an Nvidia GPU then install the CUDA Drivers and set it to CUDA.

As for the laggy playback exactly how did you chop off the video. If it’s referencing the first video in any way then your problem won’t go away. Are these Videos stored on a drive with good performance or just some Pocket or cheap USB Drive. The length of the Video shouldn’t affect playback but I have seen this myself once or twice. What’s going to really make a difference other than System Perfomance and RAM is the Video Codec. Some of these Long GOP Codecs that Cameras shoot in these days can be really difficult to playback. Your system must not only uncompress them it must also rebuild the I, B and P Frames into full frames while simultaneously playing them back in your preview window.

Make sure your Media Cache is set to your fastest drive or at least not the same drive as your Media is on. If you have the resources put the files that are difficult to playback on a separate drive altogether.

If you don’t mind drop a line about your system such as CPU, GPU, overall RAM and what type of Hard Drive(s) and Interface type(s) your Media resides on.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

If you’ve marked an in and out you can hit CMD + M (Mac) or CTRL + M (PC) and that will open the Media Encoder Queue Window. Now just choose the Codec you want to export the file as, setup all your required Audio and Video settings if changes are needed, click Export and that’s it.

Now if you want to add a fade in at the beginning and or a fade out at the end as an example then first duplicate the sequence and open that duplicated sequence. Now use the razor blade tool to make a cut at your in and out points with all tracks turned on or selected. Next click on the Video Track after the out point and hit Delete. This will delete everything after the out point if all the tracks are linked. If it doesn’t just lasso what ever is left over and hit delete again. Now click on the Video Track before the in point and hit delete. Again everything will be deleted before the in point if all the tracks are linked. Now you can either do a select all (CMD + A (Mac) or CTRL + A (PC)) and drag what’s left to the beginning of the timeline or click on the Video Track before what’s left in your timeline and hit delete. You may want to leave say a one second hole at the start to give you one second of black before your transition starts so select all and drag it to an appropriate start point that you feel is good.

Now start Media Encoder as in the first paragraph and Bob’s your uncle.

Note: I can’t stress duplicating your sequence enough. If you really screw up you can delete it and once again make a duplicate for your next try. This way you never mess up you first main Sequence.

I edit primarily in Avid so this is the way I do it in Premiere. There may be a simpler, easier, faster way to do this so please anyone else who steps in don’t shoot me. I’m just trying to give Barton a place to start from.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

2 – Never move any files out of the original folder structure that any camera has created. The Cameras create these folder structures for a reason. Take a look inside one and notice the extra files, those are metadata files that must be there for some applications.

4 – Offline and Online are essentially terms that refer to which media you are working with.
Offline means your working with Proxies or Lower Res Versions Transcoded from say Resolve as an example.
Online is when your working with the original full Res files.
You would use offline media so your system is not slow and laggy. Especially if you have a slow system or media that’s extremely difficult to playback. RED media can be difficult to playback in real time sometimes.

5 – I do believe that Premiere will create the Proxy files for you right in the project. I always get transcoded media to edit with so I’m not sure exactly how it have it do this.

Second 5 – Bin and folder structure – neat, clean, well organized, sorted into scenes if working on say a movie and labels that are easy to ready and don’t confuse you down the line.

7 – You can have as many sequences/timelines in a project as you want. First suggestion is to duplicate a sequence before any major changes are made. Create a bin to put these in and name them as say Movie-V1, Movie-V2 or whatever works for you so they sort from oldest to newest. Use the comments column and make notes about each one. Never throw these away just incase your current timeline becomes corrupt this way you only lose some and not all of you edit. As for the subtitled version once you have locked picture duplicate the sequence and add the subtitles to that one.

8 – When you see the red line that means it may need to be rendered for your system to play it back at full frame rate. There’s no risk in not rendering it. Rendering each and every time something goes red can eat up a lot of hard drive space so only render when you really need to.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

I may not quite understand your exact problem but let’s see if this helps you.
I’ve used this many times in similar situations.
One thing that I don’t like about Media Encoder is that I cannot designate how audio tracks are handled on exports.
Example: If I select say an 8 Channel Export QT will report them as 8 Mono Tracks or 7.1.
I’ve run into the same situation as you where either a Broadcaster or Distributer will not accept them this way.
They want them all designated as Discrete Audio Tracks. My guess is that the Audio Tracks are tagged differently
and Broadcast Servers screw up the Track Allocations when not tagged as Discrete Tracks.
Who knows but what I’m going to suggest has worked for me many times?

I’m not sure if your running Mac or PC but if it’s Mac install Quicktime 7.6.6 for Snow Leopard and if it’s a PC install the most current Version. You will also need to find a Pro Serial number to be able to do what I’m going to suggest.

1 – Open your Video in QT 7.
2 – Hit CMD or CTRL I depending on what platform your on.
3 – Hit CMD or CTRL J.
4 – Click on Sound Track 1 and then Audio Settings.
5 – Change each Track from Mono to Discrete 0, Discrete 1, etc. etc.
6 – If there are a Sound Track 2, 3 and so on keep doing the same thing till they are all done.

Just make sure you never use the same Discrete Allocation more than once.
You will see the Audio Allocations changing from ??? to Discrete x each time you change one in the info pain.

When you have finished all of this just hit CMD or CTRL S and voila QT Reports 18 Discrete Audio Tracks.
You will see Discrete 0, 1, 2 … 15, 16 ,17 for 18 Tracks like in your example.

Hope this helps.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

If budget is a concern then stick to Hard Drives.
7200RPM Drives are a fair bit faster than 5400’s but it can be difficult to find what RPM some of the drives are running at these days.
As an example Seagate has several drives that seem to have the same performance as the 7200rpm drives but actually run at 5900RPM.
Seagate didn’t publish this spec anywhere and I only got the answer via a direct email to there technical support.

The last thing to think about is what Interface.
USB 3 is the most common but many cheap external cases have really poor Bridge Boards with really poor caching.
This will cause laggy playback and it can just plain slow you down.
Of course cheap USB 3 Chipsets on motherboards or cheap expansion cards don’t help things either.
If possible use eSata for External Enclosures.

\”MY MEDIA MOTO: If you think three copies of your media is enough.
Take a moment to place a value on it and then maybe add two more.
Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN’T.\”

[Brent Marginet]

You can still install Quicktime 7 on your Mac.
I’ve installed it on Yosemite, EL Capitan and Sierra and use it on an almost daily basis.
Apple really did us all a disservice when then stopped developing QT on Mac.
It is an absolute must have tool as far as I’m concerned.

I don’t think it will open CR2 files but I just wanted you to know that it will still work on the newer OS’s

Here’s the link for the installer.
Just one note: It gets installed in the Utilities Folder instead of the Applications folders like it used to.
You should also be able to find a Pro Serial Number by searching the net.

https://support.apple.com/kb/dl923?locale=en_US

[Brent Marginet]

Here’s some suggestions. These are food for thought but may not be the most ideal way to go.
Hopefully someone else will chime in and correct anything that looks like bad advice.

Put at least an Nvidia GTX-680 in the Hackintosh or if you can afford it pick up a GTX-980 or 980Ti on eBay and then you will have really good CUDA Rendering. I’ve seen the 980’s go for $150US or less. Note: you would then need to install the Nvidia Web Drivers that you can find on MacVidCards.com and also the CUDA Drivers for Mac for CUDA Support. As far as a Dongle goes I don’t think you will need one but Mac’s revert to a 1280 x 1024 Frame size without one which may be ok but with a Dongle you could use higher res settings like say 1920×1080 or higher.

Here’s links to a couple that I found through a quick google search.

https://www.ebay.com/itm/HDMI-dummy-plug-4K-DDC-E-EDID-emulator-fake-display-headless-slim-DVI-/161265341755
https://www.amazon.com/1920×1200-Emulator-mining-Headless-server/dp/B00TT97I44

I used a Dongle for awhile but I found it to be a pain constantly having to remote desktop into my secondary machine.
I ended up finding a Benq GW2270 21.5″ Monitor for $70US and this is so much better than the Dongle, Remote Desktop thing.

As far as the Project goes never open the same project on two machines if it’s on DropBox.
This should be done through Creative Cloud because it’s set up to handle project collaboration.

Lastly your media. You will need to share the Media and that can be a bit of a problem. You could use a network share but that can cause some problems like poor render or playback performance. I’ve also run into glitches or crashes especially with consumer GigaBit Switches. Some kind of a NAS or Small SAN would be ideal but may blow the budget. We use a large SAN and my best advice on any shared solution is to mount the Media Volume(s) in Read only on the Render System so it can’t make changes to these Volume(s). You can run into some fairly major issues and crashes if they are R/W on both systems sometimes. The down side of this is that you will have to render everything on your Hackintosh to another Volume and every time new media is added to the Media Volume(s) you will have to Unmount and Remount or Refresh it/them for the media to show up on the read only Volume(s).

Side note: I run Mac Pro 5,1’s with PC Versions of the GTX-980Ti’s in each machine for two reasons. Nvidia doesn’t make Mac Versions past the GTX-680 and it’s about $250US all in to get a card flashed with the Mac EFI. That’s a lot of cash just to be able to see the Grey Boot Screen. I want to but haven’t done the Hackintosh thing yet so I’m not quite sure how they handle the PC EFI on a Video Card so that your Monitor(s) come up properly. If you go to a higher end Nvidia PC Version and the monitors don’t come up on your Hackintosh drop me a line and I can share my tricks to get it/them working.

Thanks for reading this NOVEL and I hope this helps.

[Brent Marginet]

I may not quite understand exactly what your asking so here it goes.
Are you saying that this clip is indentical in every way or are you masking a different underlying clip each time or putting something different on it like text or anything else.

If it’s absolutely identical every time then just render it, build it in its own timeline that you can drop into each new show or export it to a video clip that you can use over and over.

If this doesn’t help please give let us know what I may be missing here.

[Brent Marginet]

32 Charaters per line is the maximum but many broadcasters want 26 so none of them get cut off for Standard Def Down Conversions. We always do 26 per line to avoid QC issues.

Pop On is the most common mode for captions and many broadcasters will not accept anything but Pop On. Also stick to a maximum of two lines per caption unless someone is talking so fast that you have no choice but to use three.

You must also stay below 400 Words Per Minute especially for SD, again we always stay below 400 WPM to avoid QC Rejects.

We Caption in MacCaption which allows us to set the maximum line length and also gives error feedback for to many WPM and many other things based on how our Preferences are setup.

Yes they will get cut off because they do not stretch or condense.

I’ve never Captioned in Premiere so I have no idea what its capabilities are.

[Brent Marginet]

I could be very wrong about this but I would at least like to try and help.

Go into the Applications folder on the Mac and open Font Book.
Open it, select the font(s) and export them.
You should then be able to import them into windows.