[Greg Janza]

Adam, you could’ve saved time by just doing a google search to find out what the best workflow is for working with Sony files in Premiere.

Here’s a link to the top google hit:

https://www.4kshooters.net/2016/10/17/how-to-improve-4k-video-editing-in-premiere-pro-cc-on-a-relatively-slow-computer/

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

What kind of 4k media? What codec? Where is your media? External drive or Raid?

By looking at your iMac specs though, you also don’t have enough RAM to work efficiently with any 4k media.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

https://digitalanarchy.com/transcribe-video/transcriptive.html

There’s other options as well. Just do a search here on transcripts.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I’m also on Win10 using CC 2018 so if you can upload a small test file that I could download I can check to see if it’s an Adobe bug.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Tomek, sorry for my misunderstanding. I thought you were having confusion as to how to build and implement a custom ingest preset in general.

Yes, it seems that for the moment it remains a manual operation instead of automatic.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Tomek Cobas] ” I just cant seem to figure out how to create such a preset on my own.”

Adobe doesn’t make it easy but it can be done.

Look at this video starting around 13mins. It’s a good overview. But this video doesn’t go into detail about audio settings. When you create your encoding preset, make sure you customize your audio channels to whatever number you have in your raw media.
And if you have multi channel mono tracks in your raw media, you’ll need to select an encoding codec that allows for multi channel audio customization . Also, after you create your ingest preset, export it out of encoder and save it somewhere that’s easy to navigate to. Then when you select make proxies in Premiere, select “add ingest preset” and steer to where you saved your ingest preset.

https://youtu.be/Y9EJjqVV41o

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

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[Greg Janza]

Most colorists that I work with ask for a collected project / managed project which only contains the media from the timeline so the re-link process isn’t very time consuming.

And unfortunately I can’t even remember how that process was done in FCP7.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

2018 would a good time to phase out all of the “debate” aspects of Adobe Cloud as well as FCPX vs. Premiere.

Each option has now firmly entrenched itself into the production world and if this forum is any gauge, most folks seem quite content with the choices made.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Dan, sorry to hear that you’ve had so many problems with CC 2018.

Your assumption that CC 2018 is problematic for everyone though is incorrect. I’m on CC 2018 on Windows and I work almost exclusively with Sony FS7 footage and I have no issues. It works just as well as CC 2017.

Hopefully Adobe will release an update to 2018 soon. Until then you may need to assess if there’s other issues in your workflow (i.e., the san) that are contributing to your problems.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Herb-

Once again you’ve nailed it. It was operator error. I had mistakenly selected Automatic for audio in the multi cam setup..

I assumed that Premiere would marry the seven audio tracks to the video clip and since five of the seven are mono, it’s syncing function would then create the sequence as a mono tracked sequence. However, that wasn’t correct thinking.

In order to get all seven tracks to work in multi cam, the correct setting when setting it up is to select All Cameras for audio and also select mono.

Even after many years of Premiere use, I still find myself frustrated by the fact that sequence audio setup can only be done at the creation stage of sequences and not afterwords.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles