[Garry Jenkins]

Thanks for the reply Marc – I’ve never done a manual backup, no, I have Time Machine backups and I’m used to Premiere’s approach where the archives are there in the background waiting to be accessed if needs be. I’m learning it isn’t that straightforward with Resolve – it seems I can’t even access a previous save of the project on the Time Machine disk, which is baffling me.

I’m assuming I’ve lost that timeline, which is incredible. Time to set up some auto-saves…

Thanks again.
Garry

Deep Cut Productions
http://www.deep-cut.co.uk

[Garry Jenkins]

Hey Peter!

Thanks very much for the detailed answer – I stumbled across a fix by deleting the keyframe and just starting it again later in time, then moving it back…exactly as you said above in point 4. I’m slapping my forehead as well because I never thought of trying it in the timeline.

Cheers again for the help, it’s much appreciated.
Garry

Deep Cut Productions
http://www.deep-cut.co.uk

[Garry Jenkins]

Okay, but thanks for the reply! Beziers are still the problem though, if anybody can help – it’s currently stopped me from being able to animate within Premiere, which is crazy.

Garry

Deep Cut Productions
http://www.deep-cut.co.uk

[Garry Jenkins]

For people like me who need to replace the clip for a reason – in this case my machine struggles a bit processing h.264 – you can render out all the effects etc. being used on it and then replace it with a more editing friendly (but just as high a quality) format.

It’s also what happens automatically when you send a file over to, say, Audition so that you can work on it and then have that as a replacement in the timeline, but without losing the original.

There’s a good video on nesting here: https://helpx.adobe.com/premiere-pro/how-to/premiere-pro-nesting-sequence-cc.html …it’s basically about being able to import whole sequences into other sequences as if they were a clip in themselves. Handy for large edits where you’re working on/piecing together sections at a time.

Flattening – I’ll let someone else answer that, I’m not sure technically what that is… 😉

Garry

[Garry Jenkins]

Awesome,

Yes that makes sense – a lot less rendering than I´m used to!

Thanks again for the help.
Garry

[Garry Jenkins]

Thanks Alex, that did help!

Coming from FCP7 I was expecting to need to convert the sequences too but PP seems to be handling everything smoothly – thanks for your help!

Garry

[Garry Jenkins]

PS

I should probably also point out that everything’s nested like an army of Russian dolls, so it’s not as straightforward as copying a sequence, hiding the footage, then tricking it into finding the new ProRes files… 😉

Garry

Deep Cut Productions
http://www.deep-cut.co.uk

[Garry Jenkins]

Thanks Kalle, the edges of the bottle tend to disappear with the reflections but I’ll play around with the layers idea, thankyou 🙂

[Garry Jenkins]

Thanks Michael, great advice, saved loads of time using a mask and helped solve the looping problem too, thank you.

I think I’m getting there with the keying, I did what you said and bumped up the contrast, and am playing with the screen gain, balance, and matte controls and adjusting the colour etc. along the way to make it all blend…it’s a bit noisy at the moment…ultimately it’ll be output onto a transparent background so hopefully I can get the balance right.

After

Thanks for the help, it’s much appreciated, I’m way out of my league compared to you guys!

Garry

[Garry Jenkins]

Thanks Bill! You mean increasing the bit rate of the exported finished movie from FCP? I’ll give it a try…

…or did you mean increasing the bit rate of the photo?

Deep Cut Productions
http://www.deep-cut.co.uk