David Dobson
Forum Replies Created
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I can’t wait to move to 64bit – but my 32bit systems still do the trick.
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Yes. Just make sure your AE comp size matches the AVCHD PPro sequence size. (Its actually 1440×1080 at 1:1.33 — the same as the HDV 1080i60 preset.) AVI and Quicktime using Lossesless will give you uncompressed (except for the frame size squeeze)HD quality back to PPro.
You could also create a 1920×1080 AE comp and the AVCHD footage should fill it out so long as AE interprets it as 1.33 aspect ratio; but when you bring that back to PPRo and into your AVCHD sequence – it will have to be squeezed back to 1440 – so you gain nothing and mught add artifacts that could mess up the keying process. Always best to maintain one size and aspect ratio throughout.
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This has happened to me as well – I blamed it on the monitor – as it would work on one and not the other. I found that on a Viewsonic HDTV via HDMI, the metadata window just didn’t work properly. Maybe it was HDMI. On a DVI connected Computer monitor, it works fine. So I’ll blame it on HDMI instead.
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Have you tried doing it in smaller sections? Or just one tack at a time? Of course it should work and the error messages are maddeningly vague, but chances are there is just on audio clip that’s screwing the whole thing and you’ve got to isolate it.
Adobe says there is an AAF Plugin for CS4 Windows:\
https://help.adobe.com/en_US/PremierePro/4.0/WS37420b7f754071591172e0811d303d48ed-8000.html#WS37420b7f754071591172e0811d3077a82a-8000
But I’ve never seen it. -
You need to put the comp in the render queue for export (ctrl-M). The drop down for the Output Module should have a Lossless with Alpha for AVI and Quicktime output.
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Can’t you just link or group the video and audio files to keep them in sync together?
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Edit in Premiere Pro CS4 all the footage that needs to be keyed. Then in After Effects use File>Adobe Dynamic Link and chose Import Premiere Pro Sequence. You will the get a single track of video. Apply the Keylighter effect to the entire sequence. Provided the green screen is pretty similar in all the different shots that’s it for keying. Then export the composition as lossless+Alpha. Import that file back into PPro (as a file, not as an AE project – you can only dynamically link on one direction.) Create a duplicate of your edited sequence (very important as the edit is dynamically linked to AE) and rename the new sequence and put the AE file over the edit in the new sequence (it’s useful to have the edit as a reference for edit points) – turn of the edited track and voila! It’s all keyed. Render and serve.
At least that’s how I am choosing to go about it. If you need to change the edit, you go back to the original sequence and re-edit. Then go back to AE and open the project – it automatically updates – if the timing changed you do have to adjust that in the comp.) Then export the file to the same name. Go back to PPro and the sequence with the key has been updated as well. Render again – of course. I am doing a bunch of short sequences this way and it seems to be working well. For a very long form edit – it might not work so well and you might want to buy a PPro Keyer for more flexibility. There are a couple I’ve seen at Toolfarm.com
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Sadly – no. This long load time is a problem Adobe had better work out pretty soon or even a loyal customer and fan like me will have to recommend FCP for edits that have lots of footage. You can turn off XMP and Metadata Linking in Preferences/Media and it might help a little, but I have projects that take 15 minutes to load and I’ve just had to adapt. I t really stinks when you go to export to AME and have to wait for the project to load there.
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The difference between USB and eSATA is tremendous.
However, if you are editing DV or HDV footage, a USB external drive works fine (on a PC, USB on a Mac is dumbed down, forcing you to get FW400 or FW800 drives.)
The latest Macs do have external sATA ports and g-raid makes a very fast raid drive for MAcs.
I use eSata (II) for all my editing. I have hard drive docks and buy raw drives cheap and am able to edit many formats up to XDCAM, P2 and AVCHD. I like this because when the job is done,I can put the project hard drive on the shelf and there it sits till the client come to pick it up – if ever. At $50 for a 500GB Drive it’s easy to wrap that into the cost of editing. -
Yes – though not in real time.
I find it’s better to convert ProRes in Media Encoder to something else – like P2 DvcProHD.