Charlie Carr
Forum Replies Created
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Yeah i have the same thing now. Or maybe i did before. Anyhow. If i toss a clip in my timeline it plays and scrubs fine. if i double click that clip to load it into the source monitor, it plays and scrubs fine. If i match frame the same clip in my time line to the source monitor, it gets hung up. My tv goes black, and then displays the little info box of what resolution is being input into the tv. Same thing happens if i double click a clip from a bin. It’s as if premiere and/or black magic is sending a separate signal from the source and record monitors when clips are loaded like that. Or premiere is and black magic needs to take a second to realize what flavor of video it’s getting then sending it out. Opposed to final cut where you select a playback resolution and it just plays it all like that and the signal stays the same to the tv. I guess this would be an adobe fix. if they could write in a playback option in preferences to select a playback resolution best for your project….
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I’m having this exact same problem. I’m testing out Premiere to see if my entire edit shop should switch. It’s playing back from the timeline, but then if i match frame or just load a clip into the source monitor i don’t get playback. The odd thing is, every now and then it works. This is the one hang up i’m having on pulling the plug on FCP 7.
Changing the Sequence frame rate is no way an option. Yes it may fix the playback, but there’s no way i’m risking changing it to edit, then forgetting it was changed then sending EDLs to colorists and vfx shops with an EDL at 29.97 and footage at 23.98.
Guess i’ll try contacting adobe and looking into the control panel for black magic.
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I agree that tapeless lends itself to be online rather than offline. However the tried and true workflow of tape or film is what Ad Agencies are still following. They all want to edit then go to a DaVinci then finish in a Flame. It’s very true Color is great, but the editor sitting behind the color is not on par with the person sitting behind the davinci, if they were they wouldn’t be sitting in front of final cut. I’d say it’s very hard however to find one person that can do them all as well as individuals at each vendor. It’s a great opportunity for an editor to do all of it on lower budget jobs that could stay all within final cut or one system. But the truth is the only thing that might be changing in a commercial production is losing the film and shooting on disk.
I guess i haven’t tried the media manager tool, would be the solution, and the edl you deliver should be from the new sequence the media manager tool creates. If you don’t i guess the media manager tags a number to the same clip if it shows up numerous times with a chronological number. which then confuses flames and whatnot. so i guess most of this is answered.