[Jay Thomas]

I’m going to revitalize this thread in the hopes of some more guidance on this long format issue.

Yesterday I opened a 200mb project, added no media to it, created a new sequence and edited about 3 minutes of material into it, no effects of any kind, saved the project. That new project is now 238mb.

Today that project is taking 30 minutes to load/index.

There is nothing processor heavy in this project, none of the targets people have mentioned in other threads – no warp stabilzers, no effects, no super long clips, etc.

I’m just beginning into this long form edit and I’ve got a ton of sequences to create going forward. As a newbie, I’m shuddering at the thought of generating 40mb with just one small sequence. There must be something I’m doing wrong.

Anyone have any tips on this? What I should be looking for?

Operating on an iMac, 32gb RAM, one external thunderbolt drive containing all media, scratch disk, cache, with plenty of free space on the drive. Currently still using CC 7.2.

Many thanks!

[Jay Thomas]

Tom –

Like you, I’ve done small projects on Premiere with no significant tech issues, though definitely climbing the learning curve from an FCP past.

I’m just now adopting this one long format project in its early stages. It has two sequences in it, totaling about 30 minutes of run time, mostly straight cuts with no effects going on. So it is definitely not sequence heavy.

The bulk of the media is DSLR along with a number of jpg stills. There are a lot of items, in the 50,000 range.

The 75mb project and media drive were moved to my iMac 27″. The first opening of the project, with media cache set to the same location on the drive where it had been set on the previous computer, took three hours to fully index. Auto-save times took 30 – 60 seconds. Save times at project closing only took 10-30 seconds.

The next opening of the project, just moments later, took nearly 30 minutes to index.

So at this point I can state that the number of items in the project are causing long index times on open. I can’t say why auto-saving is taking as long as it is, given that the project is only 75mb. I have yet to test full editing on the sequences, or what happens as the sequences get bigger.

Adobe, is it the DSLR footage? Can you advise here? With numerous long long long format huge projects on FCP under our belts, we’re eager to make use of all the features your software offers, we just want to know how to work around the stumbling blocks we’re finding too, just like we had to do with FCP.

Tom, I’m continuing to research and will keep you informed of anything I find. Please let me know what you discover as well. Thanks!

J

[Jay Thomas]

Hi Tom, sorry that I’m not posting an answer but rather jumping onto this thread with the same question. I’ll reiterate to help try to spark some answers:

Anyone out there (including Adobe) have a successful workflow, trick, whatever to avoid or fix the long index/save times on long form projects with many thousands of items to load each time we open a project? With about 50,000 items in mine, it’s a 30 minute project open each time, even over thunderbolt with a new iMac loaded with 32gb RAM, clean hard drives, lots of space, attempted on multiple computers, all the good things that are supposed to make things go all zippy like.

Also this project has no effects going on, almost entirely DSLR footage, 35 minute timeline of basically straight cuts, cache’s located next to the media… again supposedly all the right things to do.

Adobe, how can we long form doc editors adapt to you? We’re trying. Help us out.

J

[Jay Thomas]

Follow up to the above:

I believe I’ve found this to be a bug. Clip levels don’t travel from the source monitor to the timeline on merged clips, but do on all other clips so far tested.

Anyone know a workaround?

Also, is there a way to adjust the clip level of multiple tracks in the timeline – including keyframes? The audio gain feature can adjust volume of multiple clips, but again changes the primary gain (the entire waveform) as a premix before clip adjustment, leaving clip level as is. Maybe it’s just me, but I’m still seeking a way to see the level adjustment I’m making rather than have it done as a premix in the bg…

Thanks!

J

[Jay Thomas]

Thanks for the insight, Angelo.

This brings up another question too: If I adjust the level of a clip in the source monitor with the clip mixer, then edit that clip into a sequence, the clip does not carry over that level change. Looking at the clip mixer when the timeline is active shows that clip level at zero (this is regardless of any level setting in the track mixer.)

Is it possible to carry over a clip level from the source to the timeline (as always, I’m aware I could be missing something simple here, still adapting.)

Many thanks.

[Jay Thomas]

Thanks Angelo – I thought of poking around Reduser and the other forums here, but since I can see that the rocket works flawlessly in RedCine I figured it had to be some configuration issue with Premiere that I’m missing.

Anyone else using this same gear setup with different results?

Thanks!

[Jay Thomas]

This is one thing I’m currently troubleshooting in my adjustment from FCP to PP. On multiple long form docs I became dependent on using two COMMENT columns, leaving the clip name as is, adding a general category-type identifier in the first comment column (INTRVW, VERITE, or maybe a general location identifier), then a more specific identifier in the second comment column (character name, slight description etc.)

In FCP it was very easy to select a group of clips, right click one of those identifiers which would bring up a pop up list of every identifier I’d added to that column, select from that list the one I wanted to use, and then that identifier would propagate through all selected clips. In this way, groups of clips could be identified very quickly and efficiently.

I’m searching for similar functionality in PP. So far I can set up the same column structure, but propagating identifiers over multiple clips I can’t find a shortcut for, so it’s copying and pasting into each clip. This may force a different naming methodology on my, can’t quite tell yet.

If anyone knows a workaround…. many thanks! Of course I could be missing something very obvious since I’m still a PP newbie. But I offer this working methodology as an example to you of something that, in theory, could still work.

[Jay Thomas]

Hi, I have a question about this. Full disclosure, I’m moving from FCP7 to Premiere CC today, so some issues are very noob.

If I save a custom layout named “JayCustomLayout”, then look into the folder you indicated above, how do I know which of those “UserWorkspace” xml’s is the one I need to move to the other machine?

If other custom layouts already exist on that target machine, I don’t want to delete them by moving everything from the layout folder of the source computer to the layout folder of the target computer. Is this merging possible?

Also, in my first attempts at doing this, if the target computer has a different screen dimension the custom layout tried to fit everything into the imaginary source screen. Clearly I’m doing something wrong here.

Thanks for the help.

Jay