[John Pale]

Media Encoder can do the frame rate conform.

Right click on the file name (the line with the text in white above the settings pulldowns with blue text)

Select “Interpret Footage”

[John Pale]

Had the Kona LHe Plus (the newer model, not the old unsupported one). I also work at a place that has an AJA iO 4K, and its pretty lousy with Premiere, too.

Not a real fan of BMD overall, but I needed something that works.

[John Pale]

I found performance with AJA intolerable. Lots of issues. I switched to a Blackmagic card and things are much better.

Odd, since, I also use Avid and FCP (for revisiting old projects) and I think AJA was better for those NLE’s.

[John Pale]

I’d stay away from merged clips. They have a history of serious issues.

I decent replacement is using multicam for instead. You can sync audio only sources in the multicam group,.

[John Pale]

The iPhone and other smartphones record variable frame rate…they aren’t really shooting a steady 24fps. This is difficult for NLE’s to deal with and is processor intensive, since they must create interpolated frames on the fly when necessary to match the sequence frame rate.

Convert the file in Adobe Media Encoder to Cineform, Apple Pro Res, or DNX HD/HR. These are high quality editing codecs.

[John Pale]

Try this…

Lasso all the clips in your sequence and drag them to a bin.

Select all the clips that are now in the bin.

Press Command M (Mac) or CTL M (PC)

Set up your encode and press Queue.

After Media Encoder opens, select all the clips in the Queue and double click the preset setting for the first one (or any one). It will warn you that you are edting settings for all the clips in the queue, which is what you want to do.

When the preview pane opens, at the bottom of the video preview, change the Source Range to “clip in/out”

******NOTE: When selecting multiple clips to adjust settings in Media Encoder make sure you only select the line that has the settings…the line with the blue text and not the line above with the clip name. For some reason changing the Source Range to “Clip In/Out” will not apply to all clips if you simply do a Command/Control-A, or select everything. I think this is a bug, because other settings do apply to all items.

Thats it. All the clips you pulled from the timeline will encode with their original names.

You’re welcome.

[John Pale]

Actually I have the opposite problem….

I want Media Browser to not see the network (or part of it really). Slows it down tremendously and it’s not where the video assets are.

[John Pale]

Yes, you are stabilizing it in 1080p.

You should do it in a 4K sequence. Then maybe do a Render and Replace and place that in your 1080p sequence and resize accordingly. Not ideal, but thats how it works.

[John Pale]

May be some bad metadata in the file thats confusing the AMA plugin. Can you render out a new file from DaVinci, since apparently you have access to that program?

Also, check the audio tracks in QT Pro. It’s possible to inadvertantly encode a file to Apple ProRes with compressed audio instead of the usual uncompressed, and I have seen Avid have issues with this. Probably not the case here , but takes a second to check.

[John Pale]

As inconsistent as the metaphors are, it must be even crazier translating the terms to other languages, which may not have adopted the same film or videotape terminology as in English in all cases.

Anyone from Europe or the rest of the world care to chime in?