Gerard Tay
Forum Replies Created
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Uncheck Single Output Sequence in Multicam creation dialog.
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Regarding switching to a PC, I use a keyboard mapper when I work on a PC as it will take me a while to switch between hitting cmd s and ctrl s.
For the switch to Premiere, I would suggest reading up on how Premiere handles audio tracks. It is a lot more sophisticated than FCP7 and a lot more powerful, but may take some getting used to.
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Hi David, DIY systems can be a bit tricky so I would do a test and see if your machine can handle the formats that you will be using for the edit.
Premiere is happy working with most formats natively and you probably won’t need Prores unless you need to deliver a Prores master. While there are 3rd party plugins available such Miraizon, ( https://www.miraizon.com/products/codecsoverview.html ), I would advise testing out the solution fully if you care about your delivery.
If you don’t require a Prores master, then you can directly export an XDCAM HD422 master or almost any one of the many output formats that Premiere supports. Native Prores export with Premiere is only available for Mac users as Apple owns the codec.
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Hi Bryan,
At home I use my laptop for light edits. That has 8 GBs of RAM. Barely sufficient for long form, so I have AtMonitor running to monitor RAM usage and I purge RAM when it gets filled up. At work it depends on the facility, but I have edited R3D and various types of projects on beefed up machines (24GBs of RAM with good GPU) and those rock. Very impressed with the level of performance when working with some of these formats.
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I replied to this issue on another thread here.
“I would suggest working with multicam sequences if you are working with dual system sound audio. Multicam sequences can hold one or more streams of video and audio in place, and multicam has a further advantage of allowing you to utilize features such as batch syncing of video to audio clips with audio analysis. It’s like having PluralEyes built in. But beyond that, it allows you to “flatten” your multicam edits, which will revert your edits to that of a normal clip object to facilitate an XML workflow.
For the audio, you can export an OMF like you used to and that will work with ProTools.
When match framing from a multicam sequence, the first match frame will match frame to the multicam sequence in the source monitor. When you hit match frame a second time, it will match frame back to the original clip.”
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Just uncheck “match sequence settings” select ProRes and the appropriate output. Premiere does its audio calculations natively in 32 bit float so you can export 24 bit audio masters.
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Hi Bryan,
I do use FCP7, sometimes Avid, but I enjoy cutting in Premiere. So far Premiere has been largely stable for me on larger projects, although it also seems to like more RAM especially when dealing with native formats. One of the funny things about switching to Premiere is that you can actually start working with slower drives since many native formats are heavily compressed and require less drive throughput than when using a ProRes intermediate. But of course, as always, the faster the machine the better, the faster the drives the better (helps with the rendering/exporting).
Getting a good fast/more modern GPU would help greatly as will the newer OS’s, since graphics drivers (especially the ATI ones) are released with OS updates.
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I would suggest working with multicam sequences if you are working with dual system sound audio. Multicam sequences can hold one or more streams of video and audio in place, and multicam has a further advantage of allowing you to utilize features such as batch syncing of video to audio clips with audio analysis. It’s like having PluralEyes built in. But beyond that, it allows you to “flatten” your multicam edits, which will revert your edits to that of a normal clip object to facilitate an XML workflow.
For the audio, you can export an OMF like you used to and that will work with ProTools.
When match framing from a multicam sequence, the first match frame will match frame to the multicam sequence in the source monitor. When you hit match frame a second time, it will match frame back to the original clip.
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Hi Bob,
Another option for offloading or extracting a few clips from an XDCAM card is to use Sony Content Browser. It is media aware for XDCAM HD, XDCAM EX and XAVC.
https://www.sonycreativesoftware.com/contentbrowser
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[David Gaudio] “However, all I want to do is match from my source to the same shot in an opened timeline. Just the reverse of what match frame does.”
Hi David, there is a function in Premiere that can help you with that. It’s not a one click button, but I like the detailed options I get with this.
1. Switch your rushes bin to icon mode
2. Reveal Clip in Project. That brings up the clip in the bin. Now in CC, you can also do this command from the source monitor.
3. On the revealed clip in the bin, you should have a little video and audio icon on the bottom right corner of the thumbnail to show that the clip has been used. If you hover over that icon, it will tell you how many times you have used the clip.
4. Click on that icon and it will bring up a list of where that clip has been used in your project, showing you both the name of the sequence and the timecode it is at. From that list, if you click on the sequence you’re working on, it will bring up the sequence and bring the playhead to the point where the clip is with the clip selected.
Not exactly reverse match frame, but close, and this is one little feature that I like in Premiere. It shows that the team went into detail when designing the hover scrub/icon mode function in CS6, although surprisingly they left out sorting options, which has now been added into Premiere CC.
The only issue with this function is that if you have used that clip many times and you have a lot of duplicate/versioned sequences, then you may end up with a rather long list of sequences in the drop down contextual menu, and perhaps that could be confusing.
Hope this helps.