[John Paul]

I just tried out this idea and it did not work. It would have worked in Avid. Strange, because with Premiere I have rendered clips in one time and found that they were now rendered everywhere.

Sequence setting were the same, literally copied and pasted.. Wonder what I did wrong.

[John Paul]

Apparently you can link to Premiere Pro sequences by opening them in Media Encoder, but isn’t that process for rendering and EXPORT. What if you want to simply render your TIMELINE!

Here’s an IDEA:

Cut and past all your timelines into one big sequence and render that. When you go back to your original sequence, viola, the renders carry over.

(You can even keep the big sequence around in a junk bin, so that if you ever need to do it again you don’t have to rebuild. You would render that sequence and then spend a couple minutes rendering any changes or new pieces in the individual sequences.)

[John Paul]

You are completely wrong. First of all, Thelma has been doing that on purpose for the last few films. Notice in the Aviator, she makes great use of those seemingly “bad” on axis cuts, with mismatched body position and ‘continuity’. Case in point when Noah Deitrich introduces himself to Hughes on the airfield. And Anne has always been non-traditional, she cut for Soderberg. It’s a style choice, based on the performances and the movement of the piece.

Second, and more importantly, the best editors have always been women. And not because they could make a good cut. Technical ability is really commonplace. Anybody can cut a scene, anybody can cut an action movie. But not anybody can craft a good performance. Which is why so many women have been great editors: their attention to the subtly meaning behind a performance is their power. A film like Doubt is far more difficult than Transformers 2.