[Doug O’connor]

Thanks all for jumping into this one. Glen, this is exactly what we did. For the record, because the system is offsite, in another state, an dthe company didn’t want to upgrade yet, we were somewhat limited. The 3rd party Plugin for the new Arri35 does not work on the level of Mac OS needed to run 2019 (it just missed) So ultimately what we did is used teh once machine that had updated OS that we run Davinci on for finishing, we loaded Avid 2024. Created our bins and proxies there, and than, as Glen suggested, sent them bacl down to the 2018 project. Try that in Adobe!!! never happen.

There isnt even much of a time penalty in this approach, other then not being able to spread the proxy cooking across multiple machines. Thanks again for your help and wisdom!!

Doug

[Doug O’connor]

As a note- The PC is 500 miles away from the main system…With Sarah

[Doug O’connor]

Thanks Mads,

Ultimately, if the easiest solution does not work, I like the Davinci Option, since we do have one machine with DaVinci as our online system.. Of course, complicating matters is that we are all spread out across the country, usually not too big a deal, but trying to keep the action where the media is located.

We appreciate your help!

[Doug O’connor]

Thanks for Jumping in. Just to fill in the blanks a little. Our system has 15 Avids, and I reaally dont want to upgrade everything yet. As far as the DaVinci, thats the Online editors gig, though we couild probably learn in, I’m hoping ti stay in the Avid universe and have my proxies link to the OG media. Yes, Upgreading is a simple solution, but for now I am trying to avoid it, not least of which is that I would want to upgrade fully to Avid 2025, and buying 15 new machines costs a few dollars. We did have luck on a PC with 2018, so experimenting with crossing over those files, and I may load Avid 2020 onto one machine on teh system with newer OS and create Proxies on that to test…

[Doug O’connor]

Thanks Peter,

I will run a small scale test before I create proxies for the whole project.

Doug
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[Doug O’connor]

Anna,

Since this is a popular topic, I will jump in as well.
I am a doc editor and have spent most of my career on an Avid.
Up until recently, I considered Avid the best choice for ling form doc.
I have always found it better than FCP, which I am sure many will disagree with but having cut on both I just liked Avid better.

I am currently starting my third long form doc in Premiere.
I do not think I will go back to Avid. Definitely, do not cut in FCP as some have already voiced. It has aged out.
and save FCPX for shorter projects I think- myself, I am just ignoring it.
Premiere is a pretty remarkable program, and I think after the past few films, I am not looking back.

As for version, I am working in both 2015 and 2017. I have had no real issues in 2017, for what it’s worth…

Good luck.

Doug O’Connor
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[Doug O’connor]

Thanks Jeff,

This sequence came to me with most work on it done.
But when I created a new 1920 by 1080 sequence and copied the smaller sequence into it- things got kind of wonky-
I think because there is so much archival in here. I am going to guess that messing around with scale to frame is my best option. My co-editor is suf=ggesting we just export off of this sequence to master- but this will play at festivals projected- and if quality suffers that does not seem like an option.

IS there anything else to be done?

Thanks again,

Doug

[Doug O’connor]

Thank you for the recommendations,

That would jhave been a challenge to uncover.
My main source footage is 1920 by 1080, but I have a lot of archival of various flavors.
This film is nearly complete, and has a done of stuff squished into it,but ultimately I will up-convert the SD using a program like Red Giants Instant 4K- unless you have a better suggestion.

So I will create a new project with the proper frame dimension and frame rate.
and copy my current sequence in. Will I then have to do a bulk “Scale to frame size” ?
Or should eberything comply, since it is native?- though I guess I will manually need to deal with my archival?

Again,
May thanks for the help

Doug
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[Doug O’connor]

Jamie,

That helps a lot. And the sequence clip reporter looks great.
I can’t believe I have never come across it.

Many thanks,

Doug
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[Doug O’connor]

Hi,

I am fairly new to Premiere Pro, having worked on Avid and FCP for many years. I am finishing a long-form historical documentary with hundreds of archival shots, mostly stills but some moving images as well.
The sequence currently has low res temp archival, and I now have the hi-res masters to match in. I would like to do this without having to re-make the moves on the stills, and without having to go through the sequence shot by shot. Is there a good work-flow to find and replace these elements?

I could do it all manually, but there must be some ways to make this easier.
Can I create a bin view that I can sort by elements and do my swaps there?
Please keep in mind I am still learning the capabilities of Premier.
I appreciate any suggestions you may have.

Doug
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