[Jamie Pickell]

In order to see the Library folder under your username, make the Finder the active window and then hold down the option key and select Go from the Menu bar and you will see Library in the list.

Jamie

[Jamie Pickell]

Is it the same clip with the same mask for every video? If so, this is what I would do:

1. In your project that has a finished sequence with the outro video and associated mask, create a new sequence that matches the same settings as your finished sequence and label this new sequence Outro Video Element or something to that effect.

2. Copy the Outro Video clip from your finished sequence and any associated elements that repeat from episode to episode like a music sting or something. Then paste these items into your newly created sequence.

3. Save and close the current project.

4. There are two different things you can do here, you can either import the sequence (using the Media Browser) you just created into your new episode that needs the Outro video OR you can create a new project where you keep repeating elements and effects that are in your show. Personally, I would create a new project and call it Show Elements or something to that effect. In this project I would keep all the effects, music stings, etc. that you use on a regular basis for the show. In AVID this would be a Bin that had these items that could be opened and closed when needed; in legacy FCP this would have been it’s own project that could be opened and closed as needed; but Premiere doesn’t allow you to have multiple projects open so I’ve found that creating a hybrid of the AVID and FCP model works well.

5. If you create a new project, import the new sequence you created and any other elements you use repeatedly. Now you have a project that is just the show elements so you don’t have to remember where you first created that original sequence with just the outro video. Save the project.

6. Open the project that you’re currently working on and then import just the necessary items you need for your show.

Hope this helps,
Jamie

[Jamie Pickell]

David,

I’ve had timecode issues before, but not in the scenario you’re describing. That being said, I wonder if the solution I found might help you out.

I sometimes need to import audio stems from a mix session and occasionally I would have issues where the timecode of the stems would not match the timecode of the master QT file. What fixed the problem is going to Premiere Pro > Preferences > Media and making sure the Intermediate timebase is set for the frame rate you are cutting in (it’s the option in the middle of the window) and make sure Timecode is set to Use Media Source. Once you makes these changes, you will have to re-import the footage in order for it take effect.

Hope that helps,
Jamie

[Jamie Pickell]

Andrew,

Thanks for sharing your specs. Based on some of the Q&As on the Amazon site with regards to your hard drive, it looks like all the various versions except for the 4TB version are 7200RPM (Google the specs just to verify unless you still have the box it came in which should have the drive speed listed on it).

Couple of more questions:
1. How much space is left on your Seagate drive (should have at least 20% left in order run properly for video editing)?

2. What drive is your Media Cache set to dump to (to check go to Premiere Pro CC > Preferences > Media and check where the Media Cache is being written and where the Media Cache Database is being written)?

Ideally this should be a separate drive from both your system drive and your media drive. The media cache database and media cache can build up quickly and if they haven’t been cleared in quite awhile it can be eating up space on your hard drive, particularly if it’s set to the system drive. You can click the clean button to clear the database, but to remove the cache files, you’ll need to do that manually. If the media cache has been set to the system drive, you can find it by going to the Finder, holding down the Option key and selecting the Go menu > Library (this item is hidden unless you hold down the option key). Once the window is open, go to Application Support > Adobe > Common > Media Cache Files. Select the folder and right-click on it and select Get Info. This window will tell you how much data is in this folder.
You can do a couple of things at this point, you can either select all the items in the folder, send them to the trash and empty it (after you’ve already closed Premiere Pro) OR you can move the Common folder to another drive (not your system drive or media drive and one that has at least USB 3.0 connection) and then inside Premiere Pro, change the media cache to write to this new location for the Common folder (set the Common folder has the location and not the Media Cache Files folder otherwise it will create a new Media Cache Files folder inside the existing Media Cache Files folder). Personally, I would go with option 2 if this is your first time doing this (multiple reasons why, but won’t get into them).
Once you’ve copied the folder to the other drive and then set the Media Cache to write to this new location, THEN you can move the Media Cache Files folder that is still on the system drive to the trash and empty the trash (do this with Premiere not running). When you re-launch Premiere having already set the Media Cache to the new location BEFORE deleting the Media Cache from the system drive, then it should see that your cache is in the new location. If the system drive is not where you are writing the media cache, but instead are writing to your media (Seagate) drive, do the same steps except you won’t need to use the Go Menu, just see where it’s currently set in your preferences and copy the folder listed to the drive that you will now use for writing the cache to.

3. Do you have Automatic audio waveform generation checked (go to Premiere Pro CC > Preferences > Audio and see if the box is checked)?
If this is checked, it will generate waveforms for every piece of audio in your project and depending on how much has been done previously, this can take quite awhile. I usually have this unchecked on large projects with lots of long takes of audio (interviews for example). Once you uncheck this box, the change won’t take effect until you re-start Premiere.

Hope this helps,
Jamie

[Jamie Pickell]

Andrew,

It would be helpful if you gave us the specs of your setup. PC or Mac? Amount of RAM, size and speed of hard drives, how the drives are connected (internal, USB 3.0, thunderbolt, etc.)

Couple of comments just based on your initial information.
1. When you say your project file is on a Flash drive, do you mean you’re running it off of a thumb drive plugged into a USB port? If so, you really should run the project file off of a hard drive, either the system drive or the drive where your media is stored. I usually run the project file off of a drive separate from the media drive and then backup the project file at the end of my work day to either DropBox or another drive.

2. Your issue with the system locking up could be due to a small amount of RAM on your system vs. the amount of assets (every last bit of media including cache files, pek files, etc.) that Adobe is trying to keep track of. I discovered a couple of years ago that Premiere starts locking up when you hit 12,000 assets and only 32GB of RAM. You can rack up those asset numbers quickly on large projects.

3. The work around I used for the problem I encountered in #2 was to create a new project and then only import my most recent sequence (use the media browser to do this). This brought in only the assets I was currently using and this pared down the project significantly. It will also respect the bin structure you established in relation to how you have all your media organized.

Hope this helps,
Jamie

[Jamie Pickell]

Shane,

I echo Peter’s checklist. Anytime I’ve had that issue it’s either been a long directory path or a file name that has a space between the name and the file extension.

Jamie Pickell

[Jamie Pickell]

I feel your budget pain, been there before.

There are probably several ways to do what you want via submixes, but I’m not familiar with them so perhaps someone else can help. That being said, I think the easiest thing to do is to have your editors cut and mix as they’ve always done and then export a full stereo mix.

Here is how to setup a multi-channel sequence in order to export a file with your designated audio configuration:

1. Create a new sequence with the video settings you need and in the tracks tab select multi-channel and set the number you need (8). You can set each channel as either mono or standard. Save this setup as a template.

2. Import your stereo track export of your final edit. Right-click on the file and select modify>audio channels. This will open a window, set clip channel format to mono and then set number of audio clips to 2. Then click OK. You will now have a clip that will use two audio tracks on your timeline, one is the left channel and the other is the right channel.

3. Use your new sequence that is mulit-channel, copy and past the video elements from your finished video into this timeline. Then place the full stereo mix on channels 1 & 2 at the appropriate timecode start. Place the rest of your audio stems on the appropriate tracks.

4. Make sure the track mixer window is open. Under the pan knobs you will see the numbers 1-2 with a little patch icon next to it. This is where you assign which channel that particular audio track on your timeline is going. So for tracks 1 and 2 you want that number to be set to 1-2, for 3 and 4 you want it set to 3-4 and so on and so forth. Click the patch icon to change which channel pair you want.

5. The last step is to now assign which channel of that pair each track will go to. Right now both tracks 1 and 2 will output to channels 1 and 2 and that is not what you want. In order to specify which channel of the pair you want that track to go to you need to pan the dials all the way to the left for the odd channels and all the way to the right for the even channels.

6. You can can now export your file with multi-channel audio. Make sure the audio tab in the export window is set to the number of channels you want.

Hope this helps.

Jamie

[Jamie Pickell]

Check out this thread I started 3 years ago:
https://forums.creativecow.net/readpost/3/957622

Dennis’s note about the number of assets was the answer. I created a new project and only imported my most recent sequence and that eliminated assets I didn’t need. When I bought my own machine, I went with a Mac Pro and put 64GB of RAM in it for this very reason. Long-form edits, particularly documentaries, have a lot of assets so the 32GB limit on the iMac is a bit of a problem.

Hope this helps.

Jamie

[Jamie Pickell]

Glad I could help.

The only way I can see to speed up your process is if all your clips are the same length (duration). If that’s the case, you could do Step 8 (from above) say 5 times, then select all those adjustment layers, copy them, and then paste them at the next edit point where you need your adjustment layer. Just make sure only the video layer with the adjustment layer is the active video layer otherwise your pasted clips will go on whatever is the lowest active video layer.

If your clips (edits) have differing lengths (durations) then, you will just have to repeat Step 8 for every edit. That being said, 30 edits is not a lot. I had the impression based on your previous post that you had hundreds of edits. ☺

Jamie

[Jamie Pickell]

I think you’re confusing terminology which is leading to some misunderstanding on everyone else’s part. Reading through the thread I think I know what you’re trying to do. Let’s see if I’ve got this straight:

You have a series of edits on your timeline (which I think you’ve also referred to as layers probably because you’ve checker-boarded your edits on multiple video layers). You want each edit (or shot, or clip) to start with a 3 second Gaussian Blur that you will keyframe in some fashion (probably fading it off). You have many edits (hundreds as you say). Is this correct?

If so, the first answer regarding the use of an adjustment layer is correct. Here are the steps to use to make the effect for each edit.
1. Create a new video layer that has no other video clips on it.
2. Create an adjustment layer and place it on the new video layer.
3. Adjust the length of the adjustment layer so that it is 3 seconds long.
4. Add the Gaussian blur to this adjustment layer and add the keyframes you want to it.
5. If you have audio on your timeline, make sure you de-select all the audio tracks (if they’re active, they’ll be colored blue, if not active, they’ll be gray).
6. Make sure you have Snap turned on (it’s the u shaped magnet on the time line just below the timecode)
7. Place the adjustment layer with the effect at the start of the first video clip you want to effect.
8. Select the adjustment layer clip with the Arrow tool and hold down the Option key (Alt key on Windows) and drag to til your cursor snaps to the next edit point. This will create a copy of the adjustment layer and place it over your next video clip.
9. Repeat step 8 until finished.

Hope that helps.

Jamie