[Greg Janza]

It’s misleading to ask if your system can handle 4k media because your 4k media is H264.

Virtually no system can smoothly work with 4k H264 media. Transcode that 4k media to an edit friendly codec like Cineform and you’ll have perfectly smooth playback.

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[Greg Janza]

One of the most efficient ways to do pre-color in Premiere:

Apply a LUT to a clip and if need be adjust it in the Lumetri color panel. Then export that LUT look as an effect preset.

Next, highlight all other clips in your bin that you want to have that look applied to. Drag the newly created color preset onto those clips and voila, you’ve now pre-colored your media.

The benefit of this workflow is that if you want to adjust that color look at some point, you can simply create a new effect preset LUT and then to apply it to all of your clips you highlight all of your clips in a bin, control click and turn off master clip effect and then drag the new effect preset onto those clips and they’ll all change. In addition, those changes will ripple through any timelines where you have used those clips.

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[Greg Janza]

While giving them an old camera is a very nice gesture, I think the hassle of using old technology outweighs the potential benefit. Perhaps a donation to help get them a low end new camera would be more effective.

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tallmanproductions.net

[Greg Janza]

In Premiere, organize your timeline to one video track with all clips. No multicam clips and no nests.

For nests or speed ramped clips, export a quicktime pro res and replace in your timeline.

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[Greg Janza]

[Tom Sefton] “You could easily do this and provide a separate .srt file to a producer along with a proxy for review”

Yes, like Simon Says but more powerful. It would be a completely streamlined scripting process where a text transcription is married to the media files and so making selects of the text would take those matching parts of the media file and create a rough a-roll. When you’re done making the text selects you then export an xml that would import into a NLE. Link the clips in the NLE and you have an a-roll.

You should check out Lumberjack builder. If it could be further developed for Premiere it could be a real game changer.

https://www.linkedin.com/in/tmprods
tallmanproductions.net

[Greg Janza]

[Tony West] “ONE file for both.”

For anyone following this very convoluted thread, if you use Premiere to export a split track pro res file and then upload that file to Frame.io for both a producer to watch and an editor to download, there is no issue at all.

The only issue is potentially with the FCP X h.264 multitrack share function and how it gets treated when uploaded to Frame.io.

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[Greg Janza]

“I believe Tony is saying that if you watch it on Frame.io you won’t hear all 6 channels, or at least not discretely. It will be a stereo mix, or it just completely dumps some of the channels.

Is that correct Tony?”

Yes!!! That is correct Michael.

Yes, that’s easy to understand. The question that never seems to be answered here is why would your producer want/need to have access to 6 channels of discrete interview sound for content review inside of Frame.io?

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[Greg Janza]

[Tony West] “You’re OK with losing it because you can’t figure out a way to use it in your own personal workflow so you think it’s not necessary for anyone else’s workflow.”

My confusion stems not from a lack of being able to make use of split track audio in a player. I don’t use any player for audio editing – only a NLE.

And the standard workflow for a producer or writer to review interviews is for an editor to either create a transcript or post up the interviews to a site like Frame.io. Neither of these options would necessitate split track audio. That’s why I’m asking about your workflow.

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[Greg Janza]

[Tony West] “This is how I know you are not using the same file if you recommended this product. It will only play one track out of the 6 unless it’s a mixed down QT file.”

I recommended the iina player because it’s a versatile color accurate player. It’s not a replacement for a NLE.

Maybe it’s just me but I still don’t get why you would need split track playback in a basic player since all editing will occur in your NLE and only your editor would be the one determining which tracks to use.

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tallmanproductions.net

[Greg Janza]

An added thought on your workflow Tony…

If your producer is using the file to review interviews I would suggest you actually upload that file to an AI transcription site like Temi (https://www.temi.com/). The benefit is that your producer can watch/listen to the interview and highlight selects in the text.

Once your producer makes his or her selects your editor can go through those selects on the Temi website and quickly string out an a-roll in whichever NLE.

Ideally, an AI transcription site would have the ability to export an xml of the selects that could be imported into an NLE. Phillip Hodgett’s Lumberjack builder program has this capability for FCPX but the program is still in it’s infancy in Premiere.

Hopefully, Frame.io will eventually add full AI transcription capabilities as well as xml export of selects.

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tallmanproductions.net