Jeff Meyer
Forum Replies Created
-
It appears that deletions that happen on V1 do not impact V2. They really act like clips on the timeline except you can replace the angle.
-
My only CC multicam project so far was a music video, but it was created for a 50:9 display which presents a unique set of challenges. For this one I elected to do a lot of split screen (double and triple horizontal) and added some AE backgrounds when filling with a single angle or using a split didn’t make sense. While it was a music video it was a lot more involved than a simple line cut.
For my split screen elements I found the easiest way was to take a single shot, hold Alt/Option and drag the shot up to V2. Now I have a second instance of the multicam and am able to switch angles on V2 without impacting what’s already there on V1. Not quite matching back to the source that lives within the multicam sequence, but you can edit it as an individual clip adding or removing length, or even do a second cut line cut on V2.
If you’re on Mountain Lion Premiere works natively (64 bit) with ProRes, so there’s also that. They’ve also done away with the multicam window and embedded it into the Program monitor. You’ll have to manually add the multicam buttons to the monitor. I would recommend evaluating it when time allows. I was expecting split screen to be a pain when working with multicam, but was quite pleasantly surprised.
-
Would you really need to rewrap 14TB? Any multicam project I’ve had has been fairly contained with no or minimal need for archival footage or to become archival footage. Seems like moving to DNxHD with any future multicam work would be viable. But workflows are very different from shop to shop. While my multicam projects stay failry contained, your multicam edits could involve archived footage that exists as ProRes today.
Alternatively, I’ve had brilliant luck with Premiere CC and multicam. I cut 9 angles on a 2 year old laptop. In a coffee shop. Because I could. Rumour is there’s a nasty bug out there, but I never encountered it.
Either way you go workflow is going to have to change a bit.
-
I had no idea JPEG2000 was an option in Op1a. Perhaps I need to step back from this one.
-
Adobe Media Encoder (bundled with Premiere) will do it, but you need to know what kind of MXF you want.
-
I realise this is a media management paradigm kind of situation, but Premiere seems to be really good about finding media that’s in the same folder (or tree) as the project file. Something like SAN 1 -> Project -> Project file and media folder live here -> Media lives in a media folder in the project folder.
If you live in a world where projects are isolated this could be a management scheme to keep things online.
Additionally, I’ve found Premiere CC is much better about tracking down missing media.
-
This is among the most ambiguous questions I’ve read in quite a while. I’m a salary employee, so I can’t really suggest freelance rates, but you’ve got to break some things down. What genre is this? Narrative and documentary projects aren’t going to take the same amount of time to complete. How long do you anticipate doing the edit? Can you break down your rate into editing costs X, color costs Y, audio costs Z.
If this is going to take a quarter of your year make sure you’ll be getting a quarter of the annual income you expect.
Is the client expecting this on a certain timetable? If it can be a back burner project and you can take other single day projects along the way you may be able to improve your rate.
Are you going to need new hardware for the task? Add the cost of storage into your rate. Do you need new audio or video monitors to properly color correct or mix the project? Another cost to add. Audio mixing or color correction surfaces?
Don’t forget taxes.
Best of luck!
-
We’ve moved to Premiere. After Effects integration and cost were the reason we pushed to Adobe instead of Avid.
We also just took in our first HP Z820s. Waiting for new MacPros weren’t something we had time to wait for when we had add new workstations as a part of a larger project in April/May. Our faith in Apple as a company for professionals was all but gone at the point. After rolling Final Cut Server out about a year before FCX happened we weren’t too happy. Mac OS itself has been disappointing as well. It feels like a lot of little things were done that end up annoying professionals. If not for Adobe CC we wouldn’t be rolling out Lion or Mountain Lion. When we made the decision before the new MacPro came out to buy some HP stations. We felt a bit uneasy buying our first PC editors, but after the R2D2 was previewed everyone felt like we made the right decision.
The HPs have been around for a few weeks, but we haven’t had a chance to roll them out yet. We’re doing some substantial upgrades, and the new workstations are fairly low on the priority list. I’m pretty interested in seeing how they work for us, and hearing how others are able to make the R2D2 work in their shop.
-
Hackintosh? Your guess is as good as anyone else’s.
-
Not going to happen with a MacPro. The option for Premiere acceleration is a Q4000. If this is a Premiere/AFX box I’d suggest making cuts elsewhere to make it happen. Premiere CC might realise some benefit from the ATI 5×70 cards.
If you look into the PC side of things you’ll find plenty of CUDA/Open CL cards that are within your budget.