[Ht Davis]

Standard set is yuv422, but x264 uses both luma and chroma compression with yuv420. You need CoreVF filters to prevent this from shifting the gamma. You need to specify this in your command line. It needs to Convert and then Tag the file so it appears with proper gamma settings (a reconversion on the fly). This gives better compression of data, but lesser color quality, rather than lesser detail quality. By not compressing the detail, it is retained with few artifacts, but the color is shifted. If you use a tagging VF filter, that essentially applies a metatag filter for the luma and chroma on the fly, you get better video compression and the right color. You just have to know your settings and be able to implement them. The latest quicktime component for mac is compatible with this, but I’m not sure about the windows components.

[Ht Davis]

If you set your project quality and expect encore to utilize the latest standards, you’re up a creek without a paddle… …hell you don’t even have a boat! What you need is an encoder that won’t crap out on you when you try to utilize current standards in your projects. Here’s the problem: Cameras now support 60p at 4k. Encore doesn’t know WTF to do with that. You need an encoder that will handle it. I haven’t been able to find a way to select the encoder in the settings of encore.
I have found a way to Transcode the video in encore, but through dynamic link. Encore doesn’t care what the settings are. IF it is transcoded, it will get wrapped into folders. I force encore to use the media encoder to transcode. That way, I can have a say in what it uses to encode the project. Since I go quickly from one app to another, I rarely have to wait for the file to move, and I can chapter at my convenience (which, because I do live performance Archival, is done in premiere most of the time, and by performance number, not by time).
I find it easier to use the dynamic link, especially with my time constraints and workflow. I have to produce several outputs, usually one clipping for web, large format archival (full or highest quality), and then possibly mass production material. The only downside to the dynamic link is that encore doesn’t keep up with the times. It was left 4 dead, and is rapidly becoming a dinosaur. I await the next program with these functions to be compatible with mac with great anticipation. However, the only suite that’s close is AVID. And while I could export my work from premiere to avid and back, there’s too much loss and too many caveats to deal with. Since I haven’t found a suitable replacement for the suite I use, I stick with it. There are always workarounds.

[Ht Davis]

I see what you’re doing is similar to what I often do. I need sub clips copied to new sequences for separate editing for tube sites like vimeo or youtube.

When I do multi cam, I take every major step as a new edit (IE, the first bit is about cutting in any title scenes or any stills, while making any cuts for multi cam that appear relevant along the way, or multi cam cuts etc). I first do sync and multi cam all, then dupe and start with a fresh sequence (starting point can be reached quickly). Next anything that requires some act or scene change cuts, new dupe sequence, then camera cuts, and even credit reels (I take nothing out, only put in). I then dupe and do my cut\trims to remove excess. At this point, I’ve finished the main editing portion, and now I need to size for discs and do some sub clips for youtube etc. Each is a new sequence all it’s own.

How? Remember that a sequence is an XML representation of the work, not the actual cutting, just the instructions for it. It doesn’t fully exist. You can’t sub clip it because it isn’t a source file. You can sub clip a source file, or make instructions for clipping\trimming the source file. But sub clipping from the instructions list isn’t logically sound (from a programming standpoint). You have to nest a source clip into a sequence to instruct how to render it. I’ve tried duping the sequence, then marking in out in the duplicate, then renesting it. No go with multi cam.
With multi cam sequences, you cannot mark in\out and Renest the sequence the way you did the first time. You can only Copy\paste a new sequence. To do it quickly, you may need to at more cut marks (razor), and select the sections you want across audio and video, then right click the selection and choose nest. It will make a new sequence with your sub clip built for you. This is often better than a standard sub clip. I’ve found that sub clips don’t render out properly, but sequences almost always do. Reasons range from the sub clip not having readable XML audio features to the audio having no clear source. If you don’t render the audio into a sequence, the sub clips don’t render out in AME. If you open AME and Open the sequences from your project in AME (from ame open premiere dialogue), the sub clip will render just fine.

[Ht Davis]

You have to select the audio track alone in the nest, (opt+rightclick on audio clip of nested clip), choose multi cam, and choose the audio track by “Camera”–the video track it is linked to. Caveat: you have to link the audio to video, or enumerate a singular audio track to each video track, with all of them linked number-wise (vid1 to aud1 etc). Once you enable the multi cam, you can select a single audio track, or, if you wish to bounce around, you can duplicate the nested clip audio with an opt+clickdrag of the clip down below the master, which will duplicate the track in full, with multicaming, and allow you to select which “Camera” to use for the audio in each track. Then all you need do is figure out which audio to use where (you can have audio follow video, or you can clip on your own, but you’ll have to make clips across all tracks). I prefer a single track, multicamm, that clips when I clip my video, so I can select the audio with a right click later. An extra step, but I break down everything anyway into two separate editing sessions, one for audio only, one for video; that way I can get both done independently of one another, and create the tie in as necessary, keeping style and technique clean and clear.