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Viewing 1 - 10 of 37 posts
  • JD Marlow

    December 21, 2016 at 1:16 pm

    Just as a test, I created a project with all of our media clips in it but every single CUT sequence removed from the project. ZERO problems importing. Fast, quick, doesn’t hang up. This is definitely interesting, and at least points to how many sequences we have, or what is on those sequences.

    We have been doing a lot of individual clip color correcting in our edit. Nearly every sequence has a LUT on most clips or some kind of correction. We will do some further testing, to make sure it’s not specific effects that are bogging the system down, but this at least gives us a direction to head in.

    Thanks for suggesting this!

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    December 20, 2016 at 7:10 pm

    Or create an Adjustment layer you add to timeline before export. AME watermarking works, too.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    January 20, 2016 at 9:16 pm

    Will do. Thank you!

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    January 19, 2016 at 6:08 pm

    What is the source codec of your footage? You don’t gain anything by making it Uncompressed, unless the source was Uncompressed.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    December 24, 2015 at 9:38 pm

    Does anyone know if this functionality has changed in the latest version of Premiere CC? It’s something I’m looking to be able to accomplish with exporting custom metadata columns to a CSV.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    March 11, 2015 at 3:05 pm

    I can’t speak to a Mac Pro 1,1….I’m on a Mac Pro 4,1 but I’m happily working on MC 7.0.4.2 with Lion 10.7.5.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    March 10, 2015 at 7:30 pm

    Michael,

    This was direct from Avid GUI Record Monitor. Full 10-bit Green going out as well to my Panasonic 55″ Plasma in both “i” and “p” projects. I was afraid of what Shane is saying…sounds like we’ll have to blur these to death.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    March 10, 2015 at 4:58 pm

    I would run the DPX through After Effects first to create DNX 444 or DNX 220x/175x to bring into Media Composer. Or, if your online house is conforming the project, have them handle bringing in the DPX sequence.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    March 10, 2015 at 4:56 pm

    Agreed that would be an awesome feature request. One suggestion that was made to me was to duplicate the bin and then move the clips around from the duplicate bin. Tedious, but possible.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

  • JD Marlow

    March 10, 2015 at 4:55 pm

    One method I’ve employed over the years is to partition my working drive or RAID in order to keep things separated. So if you have a project with footage you shot, graphics, and music or VO, make a partition for each one as you see fit and make sure to import media to the right volume upon ingest. It’s really easy to unmount media later and move it around knowing the right stuff is in the right place.

    Additionally, this makes AMA re-linking easy by just unmounting a volume with your low res media and pointing your sequence to relink to a different volume.

    JD Marlow
    jd@jdmarlow.com
    http://www.jdmarlow.com

Viewing 1 - 10 of 37 posts

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