[Jay Thomas]

Thank you, this looks great, a little confusing about how to purchase, I’m assuming you’re licensed as a “two seat” option since you’re just keeping two devices synched?

Will test and report back. Many thanks.

[Jay Thomas]

In case anyone comes across this thread because of a recent similar problem, we successfully recovered a corrupted MXF file today using TREASURE by Aeroquartet.com in Spain. There may be other solutions on the market but we didn’t find any in the past 20 hours of panicked research. Javier at Aeroquartet responded to my repair request within 15 minutes and a few hours later after walking through the process and paying the fee we had a fully restored 16 minute clip. Fee was $499, if there’s a cheaper successful solution out there please follow up on this thread, if not I strongly recommend these guys.

Our issue was discovered when one clip from our FS7 was accompanied by additional files with extensions RSV, SLI, KLV, and BIM, and the MXF file could not be opened. We don’t know how this happened but it did happen on a file that was being spanned over from one card to the next. The card appears to be fine.

Hope this helps.

J

[Jay Thomas]

Yes, thanks, that has been a workaround. This pretty much confirms to me then that it’s not possible in Premiere, though clearly the metadata is there for Red Cine X to display. Looks like another feature request, unless anyone else has found a magic solution?

Thanks

Mac OS 10.11.6
iMac 27\” 32GB RAM
PP CC 11.0.2 (47) Build

[Jay Thomas]

Searching for this myself, how to see the original camera frame rate for an R3D clip in Premiere Pro metadata. Has anyone found the solution yet?

To clarify, the above suggestions to reveal the clip’s INFO bring up standard clip info but not robust metadata, and not original camera frame rate.

Any help would be amazing, thanks.

[Jay Thomas]

A followup question to this – I’m missing something very basic obviously, but exactly how do I enter text into the metadata of several clips at once in Premiere? Any text column at all, say SCENE for example, if I want 100 clips to say Scene 01 how do I do that without copying/pasting 99 times?

Thanks!

[Jay Thomas]

Thanks. Updating:

These are screen captures of Skype sessions where the fps is all over the map. I’ve found that if I convert them to 24fps, maintaining h264 codec, frame size and audio settings, the files import into CC2014 with no problem.

This doesn’t answer why the files are only a problem in CC2014 and not CC, which I’d love to know, but it is a workaround.

I’m doing these conversions with QT7 since the files also crash Media Encoder CC2014. Luckily, as screen captures of Skype sessions, image quality is not the highest priority so any degradation in this workaround is acceptable. Would love to be able to avoid this in the next instance, though, so if anyone knows anything more, please advise.

Many thanks.

JT

Mac OS 10.9.4
iMac 27″ 32GB RAM

[Jay Thomas]

Solved my own question, finally. In case others are wondering this too…

With the “Fit clip dialogue opens for edit range mismatches” checked ON (under Preferences/General):

If you attempt a four point edit with the source In/Out SHORTER than the sequence In/Out, the options for ignoring source in point and ignoring source out point are grayed out and cannot be selected.

With the source In/Out LONGER than the sequence In/Out, those selections are now active and can be chosen. As can the option to “Always use this choice.”

J

Mac OS 10.9.4
iMac 27″ 32GB RAM

[Jay Thomas]

Hi again Kevin, I’m still trying to solve this dilemma so I’m bumping this thread back to life.

How can one get the Ignore Source In Point and Ignore Source Out Point to not be grayed out in the Fit Clip dialogue box?

Is it possible to do or not possible? It must be possible or they wouldn’t even be there as options, right?

Thanks!

J

Mac OS 10.9.4
iMac 27″ 32GB RAM

[Jay Thomas]

Ah, I’m always fully prepared to discover something simple that I’ve been stupidly missing.

Lassoing multiple keyframes then click/hold to raise/lower that group… I shoulda seen that one. Thank you, that’s a big part of the solution I’ve been looking for. The only thing I’d seek to improve upon this is to be able to do this very trick to multiple clips at once. I’ve tried, but am I missing a trick for that one too?

The extra volume FX is also an interesting approach, but would that then translate over in an OMF? My workflow is to send and OMF with my mix levels.

Many thanks Angelo!

Mac OS 10.9.4
iMac 27″ 32GB RAM

[Jay Thomas]

Chiming in on this old thread as I’ve been trying to get this resolved for a while now. Kevin thanks for the link to the adobe thread, but that thread discusses selecting one of the two source options but not how to get to those options when they are grayed out, which they remain on my system no matter what I do.

I’m missing something somewhere, as currently PP prioritizes sequence out point over source out point when I’m looking to swap that priority. It makes sense when it’s needed, in the even that the full source duration won’t fit the sequence in/out duration, but how can I get PP to override source out point otherwise?

As always, I’m eager to find out I’m missing something ridiculously obvious…

Thanks.

J