[Ht Davis]

They are not in sync out of the box.

You have to sync them yourself.

You can try synchronizing by an auto method if you have a marker set up. IF you have already set the time of day timecode to appear in the video somewhere, you need to find a point where those times line up exactly, and sync to that. Then you may have to adjust a little, but it will be close.

Premiere can sync by the clapper or some other cross sound adjustment if all the video is from the same scene. If not, you may want to use the time of day to get close and then balance from there on your own.

[Ht Davis]

They’re talking to you in total storage for raw footage, not in total storage for working footage. Big difference. Working footage should be internal. RAW should not if it is too big to store internal. You will need some SAS.

You will need ram. You will need proxies, you will need to edit in your output resolution, but interpret your proxies to that for your previews. Use a server farm to build your 240tb for footage and have them catalogue it to that location (this is a logistics bomb).
You will need a fiber based connection of 10-20gb/s. You will also need to be able to run the video out to proxies.

How to:
1. set servers up with AE and AME, set up watch folders\scripts for auto copying and proxy creation
2. Set up your internal system with the max it will hold with 1-2tb drives in a RAID formation and use this for cacheing
3. Add a SAS with an exterior shell casing that can handle up to 30th RAID for holding working files
4. Make a disk image big enough to hold the proxies, project and previews, store it on the External SAS and begin building the folder structure on that. Every night, back up the changes to servers by imaging, and every two weeks have changes burn to discs (look into acronis software solutions). This way, you can move the external SAS and the disk image anywhere, and your entire project is contained. You only need to relink the original media and render effects when you cross system platforms.

When you finish with the video itself, you’ll need to move that entire project to the servers to output your final work. You’ll probably need more like 300-400tb. However, you’ll be able to work on your main editing system while the servers are exporting the final file, so you’ll still be able to work. You may want to look into compressor and an apple server setup… …this would give you the ability to not only share storage but processing cores for compression of the final output. That final output will be placed on a disc or a hard drive for playing in theaters, and it will be compressed formatting. You get better quality and compression in Compressor.

[Ht Davis]

I always image the camera memory.
Some cameras have that problem where the files need the rest of the structure. Some cameras store in a file format that doesn’t meet the current standard of the extension they use. The best way to work with them is to try several different programs to read from a disk image, and see if the image itself has the excess data for reading the formatting.
Or you can play with the file extensions and pray… …that sometimes works…

[Ht Davis]

Just a guess here… …Nesting turns the old sequence into a new clip.
If you take a clip from the project list, and put it into more than one sequence, it plays the same in all of them. You need to dupe that and place the dupe in a new sequence to be able to reverse the dupe. The same works with sequences. Nest output as input, and reverse it. Simple… …I figured you’d already tried that.

[Ht Davis]

To keep your original clipping, dupe sequence. Save project.
Get clips merged in Prelude, send to premiere pro, import other project, go to project panel, open dupe sequence, in project panel, select prelude timeline (do not open), go to dupe sequence, right click edits, and replace each “clip” or edit section with the one from the panel.

Alternatively, take your original video, create sequence, nest that sequence. Edit the nested sequence. Replace the video in the original sequence with your merged clips and render out previews, then do the same for your nest.

[Ht Davis]

Yes, just close the source panel first. That will free up gfx performance. Are you using CUDA? Some trouble with those lately. Best to turn it off.

How big are the source files? Are they in the same place (is that an internal drive or an external)?
You are using a 1080p proxy, what type? Should be AVC-50, Pro-res proxy, or the like, and take up no more than a few (2-6) gigs per hour of video each.

I’ve had performance issues like this in the past, so I’ve learned to deal with them. With more than 4 angles, you can do some simple things to enable your system to handle the multiple inputs. First, spread them across physical devices (i.e., place them on separate esata, usb, thunderbolt, firewire drives) so that they can all be queued faster. Second, if the performance lags, set the playback res to 1\4. If you are still having trouble, clean your cache files. Still bad after this means you need more ram\better gfx processor\faster interfaces. Finally, if this won’t run the multi cam script, try just doing your own playback (scrub through using the mouse or the arrow keys) and place edits with the blade, the click the right side clip and select the camera you wish to change to. You can also multi cam your audio. Alt+rightclick on the audio and enable multi cam. Make sure all audio is on in the original sequence and all cameras. Make sure your single audio track is attached to a camera track by matching number. In the nest, you can dupe the audio track, for each cam or audio mix you have in the original sequence, then alt+rightclick the audio track, and select a camera for each one, and have your multi cam monitor switch audio and video as you please at each blade mark.

[Ht Davis]

look up tccalc in google.

Works for me.
Even does division etc…

I was able to use it to calculate how many measures in a musical timed video.

Basically, the video was made with the music in it already, and we are performing the piece at a show, and need to match this for timing. I had to find the beat, the measure number etc and display that for practices. This got me to a frame based number calculation, then I just did a calc based on the number of frames per second (for how many seconds) and added the remaining frames. Worked perfect and free.

[Ht Davis]

This is standard. It’s just letting you know that it will play both channels in stereo, but mono outputs would be on the right only. Did you select your audio track style in the sequence box? No? It was created for you? Well, it’s okay. Put on some headphones. Put up the audio track mixer, play with the left right balance. It’s just letting you know you have right coded linear PCM or WAV data that will play out just fine over a mono channel as well as a stereo setup. This is linear stereo, mixed into a single track.
If you want to differentiate the sound, you have to mix it down in audition to separated mono files, go back into adobe, and create the tracks in your sequence as mono tracks, then pan each one where you want it in the mixer. This will fine tune the controls for left\right audio.
Most stereo is an emulation of the sound, pulling highs in mostly on one side, and lows mostly on the other, while placing just a little of each in the opposite side to make it 3d ish (with a lower volume to emulate distance from the ear).
Guys who want more realistic sound over stereo split each side into 2 channels, and apply stereo sound to each side by mixing a full stereo mic to a surround directional submix to adjust the sensitivity, and pull in the sound directly in audition. When you know where the sound came from directionally, you get a fuller mix of the sound on that side; you just mix it down to a mono track and pan in premiere.

[Ht Davis]

I like that idea.

However, if you have flicker, the refresh rate of the projector is the problem. What is your frame rate? If it is 60p fps, then they should be showing cleanly. If you use 60i, you are getting 30p style video and can get flicker. Try this:
play to a spot with a nice screen, clip at this frame. Move ahead about 15 seconds, and clip again. Nest this in a 30p sequence, and interpret the footage (this is a copy paste, not a nest). If this works, do it for all the video where the projection is. Unfortunately, once it’s recorded you have to do some crazy stuff to get it to clean up.

Alternatives:
Test by outputting a file with a progressive frame rate and frame blending turned on. Then test by adjusting the frame rate up or down while keeping progressive frames and blending them. One of these will work better, and allow you to further adjust it to make it bearable.

[Ht Davis]

That is a good practice in theory, but better practice is imaging a disk. Who wants to know why? Anyone?

MTS is a transport stream. Premiere doesn’t understand transport streams (mostly because no standard file system does understand a transport stream as a standard file), only video files. A transport stream has video data, but is also a description of the buffering and splitting. Moving the files can create problems with older camera videos that define the locations on disk rather than by file, so imaging the disk does away with that problem.
Second, because the file system sees an AVCHD file as both a file bundle and a folder, the import command doesn’t work well.
This has been fixed with system updates on most systems, but Macs still see only a bundle. You have to navigate it yourself, then drop the files onto premiere. Output is severely dropped quality from these files though.
Prelude will let you put these onto a timeline and export them to an intermediary for use in premiere, or just export the timeline into premiere. This will Log the data for use, but it’s still slow. Using intermediary files preserves output quality and shortens compression time when going to h264 or the like.