[David Bowen]

Hey Man,

Sorry for the late reply.

The equipment used is as follows:

Sound: Rode rodecaster pro 2

Cameras: Sony fx3 and Sony A7

Computer: Mac Mini (I’m thinking this might be the culprit, these can struggle with live recording/OBS at high quality)

Recording software: OBS

Both cameras record at 30fps

[David Bowen]

OH. It finally clicked.

Both of you are agreeing basically that Media Duration should be 00:02:00:00 (as given in my example) but that I should report an out point of 00:01:59:24.

Man, it seems so simple now.

Thanks for taking the time to explain it!

[David Bowen]

This is all super helpful. But now I’m caught between your response and Ivan’s.

Ivan said I should use Media End as the TC to report to the FAST channel, however you’re saying it’s actually Media Duration. Media Duration adds one frame, so my end product is a video @ 00:02:00:01.

So final verdict is I should have timeline Out Point of 00:01:59:24 so that Media Duration is 00:02:00:00? (I’m working in PAL, obviously).

Thanks for all your input so far.

[David Bowen]

“When you need to be inclusive of all visible frames you must use the out point as your end, not the last frame’s TC .”

Okay, this makes sense but then the Media Duration for a video with a 00:02:00:00 Out Point will be 00:02:00:01. If the FAST channel needs these videos to be on-the-second, the +1 frame for Duration won’t pose a problem will it?

[David Bowen]

Ivan,

Thanks for the response. Yes, that is helpful.

Quick followup… Our channel partner requires metadata that includes both TC Out points and Media Duration. So for example, if a video is 00:02:00:00 then I’d supply 00:02:00:00 for TC Out and 00:02:00:01 for Media Duration?

Or is the Media Duration specific to Premiere’s timeline and the Duration and TC Out should be reported as the same?

[David Bowen]

You’re right, Adobe can’t do this but I figured out the workaround.

To end up with multiple audio streams in an h.264 format:

Multichannel Sequence > Export as ProRes > Import into Handbrake > Set up audio channels > Export again.

[David Bowen]

If you’re looking for something to handle heavy lifting with graphics that’s also future-proofed to a reasonable degree, you’re going to need to get a bit spendy. I’d highly recommend either building your own machine or at least using a supplier that lets you customize your desired build that they’ll then make for you. Never buy a pre-built at any big box retailer.

Main Component $$ Priorities, in order: CPU, RAM, SSD, ((GPU)).

*CPU*

Go with Intel over AMD for CPU as Adobe takes great advantage of Intel’s Quick Sync tech.

Wait for 15th gen Arrow Lake to come out — should be Q4 of this year. Do not buy 14th Gen Raptor Lake, they’re terrible.

Get a -K or -KS designated i9 CPU for the future proofing. More $, but more better.

Intel’s CPUs have iGPU (which is how it supplies Quick Sync) so unless you buy a CPU with an “F” designation (those don’t have iGPU), you won’t need to buy a dedicated GPU. This saves you mucho dinero.

*RAM*

More RAM is better than faster RAM. Get 64GB+ — don’t settle for just 32GB; especially if you’re editing 4k. While DDR5 is nice and fancy, DDR4 is perfectly fine. While speed is important, you’ll get better performance going with moderate-speed 128GB than top-of-the-line-speed 64GB.

*SSD*

I say SSD and not Storage because there is no option but SSD. SSD only and the more TB the better.

*GPU*

Not Necessary! You will want an Intel i9 -K or -KS chip to take advantage specifically of the Quick Sync functionality that the Adobe suite loves so very much. Quick Sync vs. even a high end AMD GPU is night and day. If you have a dedicated GPU AND a CPU with integrated graphics (iGPU), the CPU will switch off the iGPU functionality and utilize the dedicated GPU by default. You’ll lose tons of performance specifically with the Adobe suite.

There are ways around this to make the GPU and iGPU play nice together, but it’s complicated. You’ll need to spend some time reading up on it – and you’ll need to figure out if a custom built PC bought online can provide that functionality or if you’ll have to DIY it yourself.

This is, of course, an ideal setup for the Adobe suite. You may find that you want a dedicated GPU for specific 3D-modeling programs like Maya, but like I said that will require fairly extensive research on your part to pull off.

corsair.com

Intel K vs KS vs F vs KF CPUs: What's the Difference? | CORSAIR

In this article, we're going to go over the key difference between Intel's "K", "KF", and "F" series processors.

[David Bowen]

Sorry to Necro this thread but I found one workaround.

If you click the wrench in the timeline (timeline display settings) and DEselect Show Audio Waveform, Premiere will prioritize generating a peak file for that sequence. If it’s currently working through a batch of peak generations, it will finish the current file then switch to generating peak for the master in that sequence.

Then, once it’s done generating, turn Show Audio Waveform back on and bam, there it is.

[David Bowen]

I don’t think specs and format have anything to do with it, do they? Whether they’re h264, ProRes, or MXF — frames are frames. Converting 2997 footage to 25 without allowing a change in run time means one frame in five will be deleted. This will happen if the video is h264, or ProRes, or anything else.

How good my computer is doesn’t affect this.

[David Bowen]

AME does not adjust pitch automatically IIRC – it will conform length but pitch will change. No?