Chris Knight
Forum Replies Created
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Premiere has never allowed opening of more than one project file at a time – but you can merge as many as you want, using the File->Import command. This probably isn’t a solution for everyone (since any changes you make to an imported sequence, won’t have any affect on the original project file).
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I could write an essay on this, but transcoding your footage to ProRes does not increase image quality at all. It simply helps to edit non-intra-frame footage in FCP.
Premiere will edit 10-bit footage in its native bit-depth (I do this with Intra-AVC footage on a daily basis). If you want to edit 8 bit footage in 10-bit, you can override the default sequence settings, and force Premiere to process most effects in higher-than 8 bit (Adobe calls it floating 32 bit), and render previews to various codecs (including 10 bit YUV uncompressed, which is a far better option for compositing than ProRes, a lossy codec). Editing in above-8-bit mode will cause RAM usage to skyrocket, so be warned. There’s a reason 24GB of RAM comes in handy with Adobe applications.
Don’t forget, you can import video into Photoshop as well, and process footage in 8, 16, or floating 32 bit – but Premiere will only import either 8 or 32 PSD video files. After Effects works in all three modes.
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I assume you’re capturing DV through firewire, in which case 7 hours of footage would eat up about 80GB of space. You should definitely capture in Premiere, but I would not do a straight dump of each tape.
The process of capturing from tape to a hard drive, allows you to selectively choose what you want to really edit. It could very well be that you only need 10 or 15 minutes from one tape.
You can also divide scenes into separate captures, so when it comes time to edit, you aren’t scrubbing through a 60 minute clip, but rather a series of 1 or 2 minute clips. You will save days of editing by spending a few extra hours of capturing.
Premiere also allows you to log footage for later capture. This method allows you to tell Premiere what parts of the tape you want (by setting multiple in and out points), which then frees up your time while the camera/vtr sends all the footage to your hard drive (and for a 60 minute tape, that can take a while). The other advantage to logging, is so that if the hard drive with all your footage explodes, you simply tell Premiere to recapture from the logs you made (assuming you don’t throw away the original tapes). Instant restore.
You should always capture footage to a hard drive that isn’t the same as the one with your OS and applications. If it’s external, make sure it isn’t too full (although firewire and USB are fast enough to capture DV tapes, a full drive might cause frames to drop, resulting in jerky footage).
BTW, I’m assuming you also have Final Cut. If you decide to capture DV footage there, you can easily import the Capture Scratch folder into Premiere as well.
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If you drop a 23.976 clip into any old 29.97 sequence, it will repeat frame 4 and 5. If you drop the same clip into a pre-made sequence with the word NTSC in it (like DV-NTSC), Premiere will automatically apply 3:2 pulldown with excellent results. You can modify the NTSC preset to match your HD specs, and the pull-down remains. I used this method to create a bunch of custom HD 30fps presets.
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Instead of importing P2 folders, just view and edit them via the Media Browser. You can sort clips by date, duration, or name. You can even edit directly from P2 cards this way.
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It does.
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I work with P2 media every day (Intra-AVC, to be specific), and this is my workflow:
1. Edit project natively (no transcoding).
2. Output to whatever client needs.
3. Output to a VBR 14Mbit H.264 for a backup video master, or a 10-bit lossless AVI/QT if it’s warranted. The H.264 file looks as good as any ProRes file (both are lossy).
4. Use Project Manager to backup the project, and all media. Premiere will copy only the media you use (or all of it, if you want), and will not recompress MXF files. Everything remains native (you will lose the P2 directory structure, but Premiere doesn’t care). A 1TB backup drive is $50 these days, so storage is a non-issue.
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Alright. I have audio coming in a single track, as a stereo channel (nat audio only on right). It’s easy to fix, but complicated to explain (especially if it isn’t working correctly on your one system). Shoot me an email at chris@knight3d.com, as I would prefer to talk you through this over the phone.
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If the waveform is flat-lined, Premiere did not import any audio at all (which is probably codec related). If you could post a short clip on an FTP site, I’ll take a look at it.
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It’s dropping the audio down to track 4, because the sequence you’re adding them to has the default audio tracks set to stereo (and your imported ones are probably mono). first, clean up your timeline, by right-clicking the audio track column (literally, on the word Audio 1 on the left). Select “Delete tracks…” and check the box that says “Delete Audio Tracks,” and make sure the pull-down menu below it says “All Empty Tracks.”
This will move your track 4 audio up to 1. And your audio mapping should now be feeding it to whatever hardware you use to monitor audio. If not, check the Audio Output Mapping in the Premiere Preferences.
This is all assuming you can see levels in the mixer.