[Gary Tobyn]

Sorry to not have an answer but this is something I find annoying as well.
I spend a lot of time organising projects at the Finder level so it would be nice if premiere kept the folder structure when you import the master older.

Should you really have to drag every folder in individually in this day and age?

I am enjoying working on pp but these are the little niggles that I feel need to be eradicated.

[Gary Tobyn]

Hi Gerard

Thinks for the tip, I will give it a go and see if it gets around the problem.
I don’t want to hijack the thread with this one problem with premiere but it is an important flaw in the software.
Do you mean work mulitcam even though your project is a single camera drama and this just forces premiere to work with dual source footage in a way that is actually useful.

Adobe made caught a lot of noise when they introduced merged clips in 5.5 and being able to work with dual source and it is a vital tool for editors. But you must be able to hand your cut off to others in a film’s post production workflow.

If this works as a workaround all well and good and thanks for the pointer but it is a huge problem in need of a fix from adobe. Other than this problem at the end of my edit I thoroughly enjoyed cutting the film in premiere. I just won’t be editing dual source projects in adobe any time soon.

[Gary Tobyn]

Good to know ,
Still getting to grips with pp and its foibles myself.
But more importantly, why have they got you working on a Sunday?
😉

[Gary Tobyn]

It may be because the transition can only add white to where there is alpha channel for it to act on and colourise to white. And if you cropped the clip the transition is acting on it will also crop the transition effect.

One way around this would be to add a 1 sec (duration is up to you) white matte on the video track above the two clips so that the mid point of the white matte is exactly on the cut point of the two clips.

Either key frame the opacity or use deissolves on the matte that fade up and down leaving the only fully opaque frame to cover the cut.

[Gary Tobyn]

Merged clips is what pp calls it when you sync audio from a source other than your camera to your rushes.

The software clips a new virtual clip that is an amalgam of the two pieces of media.
In FCP7 or avid the new clip,that you create is still referencing the original files so that edl’s and XML files send the correct info for the grade/online etc.

Premiere seems to be incapable of this. I’m not alone in this problem having looked around on the forums and its not something you would find out about until you hand off to your grader/onliner and find the problem.

I don’t know what the work flow is for the projects you have but I wanted to warn you before you started on any big projects (like I did) and not be aware of it.

If you are using merged clips and have time try a test.
Export an XML of your timeline and see if you can import it into Resolve or fcp7.
You don’t have to reconnect the media. If it is what I and others have experienced you will see just one clip in the imported timeline instead of you cut.

The footage I was working with we’re Sony mxf’s maybe it’s a codec thing but all of your cuts should still exist in the imported timeline even if the footage cannot be interpreted.

If it doesn’t do it to you I would love to hear about it.

[Gary Tobyn]

The only way around this flaw (a fundamental one in my opinion which makes me feel PP unsuitable for any dual source project) was to do the following.

Match frame (assuming pp can get this right) the clip in the first frame of the clip in the timeline
Copy the timecode from the clip in the viewer window.
Search for the original non sync clip in your rushes (as long as you kept it, if you didn’t reimport it)
Paste the timecode you copied to get to the first frame you want.
Mark in and replace the video of the clip on the timeline (the audio still exports for an Omfi)

The XML will then work when you send it to DaVinci Resolve (at least that is what I tested)

This is a terrible oversite by adobe and a deal breaker,for me right now.
Especially when you consider people have been complaining about this since merged clips were,introduced in version 5.5 (which I only discovered after I cut my project).
I would have gone straight to avid if I had known.

[Gary Tobyn]

The one thing I would advise you to be aware of is that merged clips (from dual source video,and audio) do not work properly.

You can certainly merge them together fine but Adobe Premeiere seems incapable of marinating the links back to the original media properly.

Match frame will act erratically
Three point edits of just the audio do not work (I have had to edit in the video along with the audio onto a spare track and then delete the video I never wanted).
Ad most important of all EDL and XML exports are broken. The XML is gets I ported by the next person in the post production chain as just a single clip to a random piece of footage.
The only way around this I found was to use match frame (when it works) copy the time code then find the original non sync video clip and edit this into the timeline instead of the merged clip

A huge waste of time and in my eyes makes premiere practically useless for editing any film where you have dual source footage (which in my experience is every drama I have worked on).

If this is just me please let me know what I am doing wrong

Gary