Greg Janza
2
COW Coins
1
Premiere Pro Coin
Forum Replies Created
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I think you’d be well served to set yourself up in the Pancake editing mode. Open your string out timeline and then move it on top of your main timeline by grabbing the source timeline name tab and moving it down until you see a darkened horizontal bar across the top of your main timeline. You should now have your source timeline string out on top and your main timeline underneath it.
Scroll through your source timeline, add edit cuts to the shot you want to add to your main timeline and then drag that clip down to your main timeline. Make your source timeline settings the same as your main timeline so that when you drag the clip down to the main timeline the image fits into the new timeline without any need to resize.
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[Neil Goodman] “Exporting sure – but has been years since Ive waited for something to render before I could play something back.”
I’m with Neil. The only rendering that needs to be done these days is on export.
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Premiere has dropped support for a variety of legacy codecs. Your solution to this issue is pretty simple. If you really want to use your native files then it sounds like Premiere 2018 is the option.
If you’ve already upgraded to Premiere 2019 then you need to transcode those files.
And if you are recording to H264 you would want to transcode anyway since H264 isn’t an edit friendly codec.
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Thanks Oliver for that clarification. Yes, the R3D exports from Resolve are usually a ProRes flavor.
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[Jimmy Gallagher] “does it make a difference if the R3D footage is 2k?
“I’d have your colorist export out the same size file as the source. If your source is 4K the colored files will be 4K. If the source files are 2K, then export out 2K colored files.
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In the normal Resolve workflow, Resolve is just used for the color work. Your colorist will give you an XML file along with the colored media and you import that XML into your already established Premiere project.
The timeline that you created to prep your XML for color isn’t your real timeline. After importing and opening the timeline of your color files, you copy those files and paste into a duplicate copy of your real timeline that has your graphics layers and audio tracks. This timeline becomes your mastering timeline.
All finishing work will be done in Premiere in your original project.
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A normal Resolve workflow would have you create a prepped final timeline XML for color. That timeline would be one that has all video on layer 1, all multicam clips flattened, all effects removed and all motion effected clips noted so you can re-do the motion effects on the colored clips. Motion effects won’t transfer in the XML to Resolve. All audio tracks can be removed from the timeline as well as any graphics layers.
In essence, you’re delivering a timeline that has a clear indication of the colorwork to be done. You can media manage your project to collect all of the relevant files but Premiere’s media management tool is flaky so I’d recommend that you simply create a mirrored drive of your entire project media and give that to your colorist.
In addition, colorists also appreciate a pro-res version of this clean timeline in case they run into issues with the XML. And lastly, export out a reference version of the finished timeline with source file timecode burn-in as well as master timeline burn-in. Colorists want to easily track every shot in the timeline in case there’s a mismatched file on import.
The deliverables from the colorist to you would be your master color files along with an XML. If you’re delivering to your colorist 4k RED files you’d be asking for 4k RED files (R3D) back from your colorist. You import back into Premiere the XML that you receive from your colorist and on import that XML timeline will be linked to the color files.
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[Samuel Frazier] “Premiere is so buggy with this project on his iMac that even switching b/t the proxy and the master often crashed it. It’s still buggy and prone to crashing on my 2017 iMac, but not nearly as bad. “
This is probably more of an issue with the imacs you’re using and the setup of those computers than a Premiere issue. Share your computer specs and it’ll be easy to determine if you’re problem resides with your hardware.
Also, what’s the codec of your master files? If they’re H264 files it could explain why you’re running into so much trouble.
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Simple solution, transcode the media to an edit-friendly codec (i.e., Cineform, Pro-res) and relink.
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[Mark Suszko] “Watching lack-of-progress-bars is a daily thing for me, and I know that it can waste up to two hours a day of my time.”
That’s a lot of wasted time. Are you editing long-form videos? With a newer system, renders shouldn’t be taking up that much time.
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