[Jeff Greenberg]

There is no preset.

You can drag a clip to the ‘new icon’ in a project and it’ll build a sequence that matches your footage. The renders won’t be in ProRes – and I’m not sure that it really matters.

If you want, you can build a new sequence; go to the settings, change it from whatever format you picked (Please pick a format that’s ‘like’ your footage – same size & frame rate) and change the editing mode to Custom; this will open up the ability for you to change the video previews to QuickTime and pick your codec of choice.

When you put footage on the timeline and the timeline turns yellow (or even red!) it may playback just fine – don’t think that the color = bad.

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

Are you asking how to move them? You can just put the project and media in the same folder and drag it to your internal drive?

Or are you asking how to do it for the future? (Done when you create a project)

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

I’m sure that Compressor won’t mux 5.1
And I don’t know if MPEG Streamclip will – the ffmpeg guys would (which mpeg streamclip is based on.)

I see that episode lets me have AC3 audio, muxed as an MPEG2 and lets me have 6 (5.1) channels. I’m pretty sure squeeze will do this too.

So, unfortunately, you’ll need either to buy the tools or hire it out.

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

alt or opt key. It might be cntrl+alt or cntrl + opt. Not near my avid now, but it should be a modifier like that.

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

There’s a button on your timeline, that looks like an arrow with two clips underneath. It’ll let you move all your clips to the right.

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

You’re trimming and that’s what’s breaking sync, right?

Sync locks add black at the spot of the trim to keep other tracks in sync.

Unfortunately, if there is a clip in the way, it cuts the clip.

If you shift click you can add trim rollers to other tracks – matching the way your trim rollers are setup.

Also (in trim mode) you can opt-click and you’ll add trim rollers to any black tracks matching your trim.

Building a sub-sequence is identical to sub clipping. Make an in/out and drag the tiny sequence icon in the upper right of your screen. You can also add the subclip button to your system.

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

Sounds like something is wrong on your machine.

Obvious questions: reboot? Did you upgrade windows at all? Anti-virus stuff?
How about the windows paging file? Is there a large page file?

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

Kozo,

I think that you’re stepping in via a 2x click in segment/effect mode.

If you use the step in arrow at the bottom of the screen, it should show you the matte with the locked alpha.

I did a very quick recording to show you how to check – https://ow.ly/9IGUG

I apologize if it’s a little rough – Our house is sick (wife, me…) and we have a tired newborn.

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

Posts by filmgeek

[Jeff Greenberg]

Premiere Pro works like this:
Nothing rendered? Great – highest quality, original footage, render directly to distribution format.

Oh, you have the Previews?(render files) – a little lower quality, but no calculations necessary.

Where you were likely getting hit was the calculation of the h.264 in Encore…via Adobe Media Encoder….via Premiere Pro via AE. If you just render the AE sections, everything would have gone faster…or used a mezzanine format output from Premiere Pro (although, this would reduce the quality).

Since you’re working with those DPX files, you definitely want to make sure the maximum bit depth is retained.

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website

[Jeff Greenberg]

[Mohammed Naseer] ” thank you for your reply, when you say scale it up to HD – do you mean for instance convert your SD footage to HD ( meaning H.264 ) format and then apply the 3rd party (1920 x 1080 ) HD template effects to your converted HD clip.”

If you start an HD project, everything is conformed to HD. So any clips that are 720×480 (or any other not 1080 or 720 size) gets blown up. HD is not h.264 – it’s either 1920×1080 or 1280×720. Depending on which you pick, your SD clips will be automatically scaled up.

Motion behaves similarly, but different – let’s straighten out with happens to FCPX, then we can move to motion.

If you place an SD clip in a motion template, you may have to scale the clip up to fit the HD size it was originally intended for.

[Mohammed Naseer] ” Secondly I am some what confused about different formats and codecs out there. For example I have a utility from iSkysoft which converts SD to an MP4 ( codecs : H.264, AAC, and resolution of 1280 x 720 ), but the third party templates are in 1920 x 1080 resolution and from my research on wikipedia h.264 means MPEG-4 Part 10 or AVC yet iSkysoft utility converts it to h.264/AAC instead of h.264/AVC. Does all this matter or can FCPX convert it for me to the right format so that I can apply the 1920 x 1080 templates to it”

You’re confusing the CODEC (CO=compressor/DEC=Decompressor) with the Frame size (1080 or 720 for HD sizes).

HD/SD refers to size.
h.264 (MP4, part 10) refers to the compression algorithm used
AAC is the audio portion of MPG 4.
AVC stands for Advanced Video Coding (it’s another way to say h.264)

Now, with all that said, generally, you want to give whatever editorial tool (FCPX, Avid, Premiere Pro) your footage in the original quality. Each time you convert it, like making a photocopy, you’re degrading the image.

So, don’t convert what you have (or let FCPX convert it.) If I were going to convert some Youtube Video manually, I’d either go uncompressed (HUGE FILE) or Compressed in ProRes (Apple’s Professional Resolution Codec, optimized for minimal quality loss). h.264 is typically a distribution codec (like DVD) and shouldn’t be used as a source codec (although there are a number of cameras that shoot with them.)

Best,

Jeff G

Certified Master Trainer | Adobe, Apple, Avid
————
You should follow me (filmgeek) on twitter. I promise to be nice.
My book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Lynda.com – Compressor Essentials 3.5 and 4
Contact me through my Website