Jamie Pickell
Forum Replies Created
-
I had this happen once, but only on one reel. It was a ProRes HQ Quicktime file and I had used multiple shots from the reel in a documentary I was cutting. The post-house upgraded the Premiere software over the weekend and the next time I opened the project all my edit points for the shots selected from that reel had shifted (and not a consistent shift either if I recall correctly). I couldn’t figure out what had happened. I consulted with a fellow editor and we determined that somehow the timecode track for that Quicktime file was messed up and Premiere wasn’t reading it correctly anymore (possibly a result of the upgrade). I ended up taking that file, placing it on a timeline with the correct starting timecode and re-exporting a new source master file that I then re-cut back into my project. Going forward, that was my new source master since I was going to need that same file for other episodes.
My recommendation to you is that if you know what the timecode of the first frame of each of your source master clips is supposed to be (i.e. they all started at 00:00:00:00), then put each source master in it’s own timeline and set the timecode to start at that timecode and re-export each source master. A definite PITA. While you’re at it, I would export in an I-frame codec (like ProRes or DnXHD). Once done exporting, I would make a copy of your project and use the copy to re-link to your media. See if that fixes the problem.
If the actual IN point timecode of a shot is different from what you remember it being (i.e. your original IN was 1:00:05;00, but now it says your IN is 1:00:7;15) then, you will probably need to eye-match your shots back in. Did you export a cut before your troubles started, if you did, you can use that as a reference to re-edit the shots.
Hope this helps,
Jamie -
I don’t envy you and as David said, your concerns are legitimate. That being said, this is what I would do.
1. Determine that the Israeli cut is the master since they are the paying client and presumably have an airdate for your film.
2. Once you’ve hit rough cut for the Hebrew version, have an assistant editor or junior editor cut all the English soundbites in the order they appear in the rough cut.
3. Duplicate your Hebrew rough cut timeline and put in the English soundbites (and narration if you have any). Depending on which language is faster, I’m assuming you’ll need to tweak shots and music scoring to fit.
4. Determine how much time you need to make those changes for the English version and make them.
5. Deliver the rough cuts as you finish them. Depending on the length and complexity of your film, there will probably be at least a week difference between your delivery dates.
6. Put the English cut to the side.
7. Address whatever notes you get from the Israeli broadcaster and go through fine cut and picture lock for that version.
8. I’m going to assume that the English version will be owned by your production company and so does not have to match the cut you deliver to your Israeli client. I’m also going to assume that your director will disagree with at least a few if not many of the changes the Israeli client wants to make to the film. In which case you will fundamentally have two separate films.
9. Go back to the English version after you’ve delivered your final to your Israeli client and make the film your director really wants to make.
10. If your director is trying to hit a deadline for the U.S. film circuit that does not allow you to address that film after you’ve made final delivery to your Israeli client, then he needs to hire a second editor to make that second film.Good Luck!
Jamie -
Yes, you can export folders or sequences as their own Premiere Pro project files. Select the folder or sequence that you want to be its own project and then go File > Export > Selection as Premiere Project and a Save As window will open.
Jamie
-
My bad, I misread the original question. Correct, you can not color code tracks. However, you can rename them. If you expand the track and then right-click on the track name (A1 for example) you can select Rename and give it an appropriate name.
Jamie
-
Are these separate audio files or are they distinct audio channels of a singular clip? If they’re separate audio files, you should be able to color code them as you wish. The production co. I’m currently working at is running Premiere 12.0.1 which introduced additional color/labels with a grand total of 16 color coding options. I also color code my files so I can quickly look at my timeline and tell what is high rez and what is low rez and also distinguish between the different audio and video types (music, narration, graphics etc.) I’ve attached a screenshot below showing how I’ve setup my labeling system. I then color code my clips in the project window (you can also do this on the timeline).
If your clip has your audio as distinct channels (i.e. VO on channel 1, Italian on channel 2, etc.), then you’ll need to first right-click on the clip and select Modify>Audio Channels. In that dialogue box, set clip channel format to Mono and then set the number of channels that the clip has. This will give you a clip that will occupy that number of audio tracks on the timeline when you insert it. Once on the timeline, you can change the colors of the individual audio tracks (just make sure linking is off on your timeline).
Hope that helps,
Jamie -
Did you try making your sequence an 8 channel output instead of the 6 that’s in the tutorial? You can then put your stereo left and right tracks on channels 7 & 8. When you go to export your cut select Multichannel under the audio tab and then under the output channels you should see SMPTE DTV (L R C LFE Ls Rs Lt Rt) as an option. (This is Premiere CC 12.0.1).
Jamie
-
Check this out for exporting 5.1
https://www.youtube.com/watch?v=v-2jD1WDcys
Jamie
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
Jason,
I haven’t had to export a 5.1 Pro Res file before, but have done a 4 Ch output. I found this link online and it appears to be very similar to the way I’ve exported a 4 Ch output. Check this out:
https://www.youtube.com/watch?v=v-2jD1WDcys
Cheers,
JamieSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
It’s a bug in Premiere 2018 12.0. I discovered it when exporting an AAF for mix. The mixer told me the audio was messed up after the 3 minute mark. I went through and deleted all my audio dissolves which got rid of the error message, but still made a mess of the AAF. In researching the issue I found this on Adobe’s forums:
https://forums.adobe.com/thread/2427031
You can round-trip via XML to an earlier version of Premiere (which unfortunately I couldn’t do since it was removed from my computer by IT) OR you can go old school and export an OMF which is what I did without issue.
Jamie
-
Jona,
The short answer to your question is you need more RAM, but since you’re on a MacBook Pro, you can’t get more than what you already have so you’ll need a newer computer (iMac or MacPro) that can handle 32GB of RAM or more (personally I would opt for 64, in which case I believe only the most recent versions of the iMac support 64GB and only if you make the purchase through OWC (macsales.com)).
The long answer can be found here: https://forums.creativecow.net/readpost/3/957622
Hope this helps,
Jamie
