[Bret Hampton]

Ana

I see your sequence is standard definition. What formats are your source footage, how are you exporting and what settings? Also you could attach pictures showing the problem. Use the camera button in Premiere to grab a frame.

Also try Adobe Premiere Pro Editors group on Facebook as most of us are on everyday.

https://www.facebook.com/groups/adobepremierepro

[Bret Hampton]

Hi Chris

There’s a lot more at play than what you’ve listed so far.

What was your source codecs, sequence settings? Which PP build (and don’t say “latest” be specific. Did you clear your cache? In fact is your cache on a separate drive? I have SSD solely for cache for example.

I’m on PC, so if you don’t get your answer here, try FB Adobe Premiere Pro Editors. Kyle and other pros there should be able to help.

https://www.facebook.com/groups/adobepremierepro/

[Bret Hampton]

Xavier

Dolby Atmos does exactly that. Pro Tools does this via a plug-in

https://www.avid.com/plugins/dolby-atmos-production-suite

[Bret Hampton]

From within Premiere, go to Media Browser to import your files. This allows Premiere to stitch all associated files together. If you try to do file/import or drag and drop it bypasses this

[Bret Hampton]

Hi Hope

It’s much like Facebook, a way to know other video professionals, learn, network.

For example editor Shane Ross has posted many helpful answers over the years, so I like to follow him. He’s also on FB in some editor groups.

Bret

[Bret Hampton]

Hi Sean

Accepted practice for many of us is to transcode to ProRes, Avid DNx or Cineform. Those play smoothly pretty much regardless if source is DVCPro, H264, etc.

Files will be bigger, but that’s because they’re designed to work well in PP, Avid, etc.

I also suggest you join the Facebook group Adobe Premiere Pro Editors. Lots of savvy folk there who’ll usually get back to you quickly.

https://www.facebook.com/groups/adobepremierepro

Bret

[Bret Hampton]

Hi Jimm

I read reports of instability on Windows but not Mac. However you’re OS version is very old (I’m stuck at that one too, as Final Cut Pro 7 won’t let me upgrade). However my main computer is Windows 10 and both my Epsons work fine.

Also you’re using CS2 which is very old itself, 15 years.

It’s highly likely the scanner drivers are written for newer versions of your OS and Photoshop. You can test this by using VueScan, which has drivers for most printers/scanners.

Here’s yours

https://www.hamrick.com/vuescan/epson_perfection_v600.html

It puts a watermark on the scans until you buy the software, but good way to test my theory.

[Bret Hampton]

Nick

You don’t mention what source files are, what your sequence settings are and what you’re encoding to. These are all important parts of this.

12 times faster rendering isn’t normally how upgrades work. You get biggest bang for the buck when upgrading a very basic system. As you go higher, the payoff costs more for less improvement.

However you made some great improvements. I think if you provide more details, we can offer suggestions on your workflow to increase as much as possible.

I’d also check out Adobe Premiere Pro Editors on Facebook. This stuff comes up all the time and some very sharp folks there. Tell Kyle I sent you!

https://www.facebook.com/groups/adobepremierepro/about

[Bret Hampton]

What audio sample rate are your clips? What about Premiere audio settings? They need to match, typically 48khz.

Check where your audio is being played. In my case it plays to my monitor via HDMI then optical out to my receiver.

Make sure you haven’t Solo or Muted any audio tracks in your timeline. You’ll see the icon highlighted to left of track

[Bret Hampton]

First, need clarification-If they’re giving you 5.1 those are NOT stems. You’re getting channels mixed as they appear in theater, tv, etc.

Stems are the sources that are mixed to 5.1

So figure that out first.

————————-

If it were me I’d edit as is with all tracks. You can set audio monitoring to just hear dialog and M&E tracks because your sound mixer will most likely recut the music.

Sound guys aren’t afraid of many tracks. In fact the more, the better!

If he can read Premiere projects, send that along with OMF you export and the source clips. Make sure you don’t change filenames, timecode, etc so everything will link up.