[Dylan Hargreaves]

Yeah same here, playhead position seems to make no difference, but seem to have found a workaround.

When you re-open Looks and it calls up the wrong clip, add a new filter – one that doesn’t do anything til you alter the parameters. Don’t do anything, don’t change anything, just click Finished and come out of Looks. Then inside your clip in Premiere Pro, click Edit Look again, and hey presto, it calls up the right clip, with the new filter you just added. If you don’t need it, delete it, and you’re good to go.

As I say, it’s a workaround rather than a solution, and someone at either Red Giant or Adobe needs to have a proper look.

Cheers!

[Dylan Hargreaves]

Too easy! Thought there had to be a way!

Thanks, Eric

[Dylan Hargreaves]

Thanks both – particularly on the multiple passes advice, Chris.

I think the way forward is to shoot on Red. At least then if Twixtor doesn’t work the way I want it to, the client will still be blown away!

Cheers!

[Dylan Hargreaves]

Thanks guys, some good advice there.

In the end the promo needed a complete re-edit anyway, so fortunately nothing lost and still a useful learning experience!

Cheers,

D

[Dylan Hargreaves]

Er, ok that was pretty obvious. Just set up a sequence with stereo and mono tracks, but still, that’s a really unnecessary extra bit of faff as far as I’m concerned….

[Dylan Hargreaves]

Hey all,

Thanks for the responses. That’s helped clear another issue I’ve been having. I’m putting together an edit containing rushes the client supplied and footage we shot.

The client rushes – supplied, no surprise – as wmv, and converted here to mov, consist of one stereo track. MY footage – an interview was shot split track with the interviewee on a radio mic and a shotgun.

In a stereo sequence, PPro will not edit the audio into the timeline. I can drag it separately, but it will not edit with the video.

Only by creating a new sequence with mono tracks will the audio edit into the timeline with the video. But now, the client’s stereo rushes won’t edit into the timeline with video!

Really odd, and a big black mark against PPro in my book. If anyone knows why it does this, or a workaround, I’d love to hear it.

[Dylan Hargreaves]

I had a similar issue in After Effects where I’d motion tiled something to the maximum width – I think around 30,000 pixels – without realising it. It was displaying normally, but because it was 3D, it was actually far wider than my 1080 comp. Reducing the motion tile width fixed the problem.

Not sure, but maybe you have an effect on which is making your graphic wider than you realise?

[Dylan Hargreaves]

Hey, thanks for this Zach. I’m an FCP refugee currently dipping his first toe into PPro, so no doubt will get loads of useful stuff from your tutorials.

Right off the bat, I have a question though. The PPro audio waveforms are rubbish. Tiny little blips on the sequence compared with big chunky proper waveforms on the FCP timeline. Is there any way to resize the waveform display without increasing the size of the track?

Also, (ok, two questions!) in PPro you’ve got the left and right audio on one track, whereas FCP splits left and right across two tracks. This is really useful if you’ve recorded your audio via two different channels. How do I then separate in them in PPro?

Cheers!

D

[Dylan Hargreaves]

I’ll be sure to do that, rich, thanks.

[Dylan Hargreaves]

Dude, I can be as crude as the next man, but my experience of the CoW is that that sort of thing is neither allowed nor welcome. Still, if it makes you feel better: boobs.