John Pale
Forum Replies Created
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Okay…you have convinced us….now you need to contact Adobe support. They won’t fix it if nobody shows them the problem.
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I doubt it has anything to do with this (it shouldn’t), but there is a preference setting for sources with indeterminate timecode. If its set for Drop Frame, you might want to flip it to Non Drop and see if that has any effect. Again, its not supposed to affect files that actually have a timecode track, but what the heck? Won’t hurt to try.
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I had Premiere slow to a crawl on a Mac Pro transcoding (in Media Encoder) in the background. After some experimentation, I determined the graphics card was being overloaded. In Media Encoder, I selected Mercury Engine Software Only instead of Open CL. The encodes went a bit slower, but now Premiere was fully functional again.
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If you are only able to monitor audio in stereo, you need to route all audio in the track mixer to channels 1 and 2. Right now, I am seeing multiple channels in your meters next to the timeline, which means some channels will not be heard. When you are set up for stereo monitoring, you should only see two vu meters.
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See if you can successfully convert the footage to a suitable mezzanine codec, like ProRes, Cineform, or Avid DNX, using Media Encoder. Use the new files as your new masters. The originals are probably corrupted and may never be stable in Premiere.
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I can confirm that something changed in Lumetri between CC2017 and CC2018. Opening archived older projects, I can see that all the color correction is messed up, with a darker, slightly more saturated image. Perhaps this is what you are seeing. Stuff looks fine if it was rendered under the old version of software, but once you change something that causes you to re-render the clip, the image becomes darker.
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To put a marker on the entire clip, go to the first frame and hit M. Hit M again to open the Marker Editor. Change the duration to the duration of the clip.
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Markers can have a duration. They can cover more than one frame….even an entire clip.
There is also a Marker window, that shows all the markers in a list, which might be helpful.
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“Really, can you imagine any other product where if you want to switch from one platform to another, you have to buy a third? When my lease is up on my BMW, I plan to get a Tesla Model 3, but will need to buy a Chevy Volt in order to make the transition from gas to electric. Expensive.”
Couldn’t agree more. Yes, there are ways to move a sequence between one NLE and another, but that’s more for doing something in a pinch. Doing it as a designed workflow, on purpose, seems like madness. Just asking for stress, pain, wasted time and money. Whatever difficulty in getting up to speed on Avid is trivial in comparison.
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You can actually send the Premiere sequence to DaVinci via AAF, then export from DaVinci, creating Avid compatible media. Not everything will translate as expected, but the basic edits should work.
Honestly, you guys should just bite the bullet and offline on Avid (just subscribe for the length of the edit, its not that expensive). There are just so many ways this can just blow up in your face, especially working with RED media, its worth it