Jon Barrie
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To export a single video file of your edited timeline. You only need to select the timeline panel and go to File>Export>Movie or Adobe Media Encoder…
There is no need to select the clips you’ve edited. It will render everything in the time line…so to speak.Jon Barrie
aJBprods
http://www.jonbarrie.net -
A link can only occur when there is 1 audio and 1 video clip selected. If you want to select a mass of clips and have them move together as a finished group you can group them. Links only work with the single video and single audio so that it can safely maintain sync and notify when there is loss of sync. If there are more than one video clip associated with sync the formula becomes more complex so Adobe don’t have the feature work that way.
Jon Barrie
aJBprods
http://www.jonbarrie.net -
I’ve been using FCP since version 1. And I currently teach FCP casually while working on multiple projects. I’m running PC and Mac NLE suites and find the Premeiere Workflow very easy to switch from a PC to Mac. If I work on a FCP project that needs to go to PPro on a Mac the files are accessible. Some FCP only codecs won’t cross to the PC, such as HDV captured on a Mac. FCP has issues importing MPG files which are native in the PPro workflow. So they are different applications. FCP must use a MOV wrapped file. MXF files which are natively seen and used in PPro on Mac and PC won’t be seen in FCP. FCP needs to convert it to a MOV wrapped QT file. Then you need to force the re-connection.
If you are working in DV or at least using DV as your offline format, then codec wise you will be fine. EDL from FCP is not to a standard format PPro can see properly without tinkering inside the file. However, PPro EDLs are easily understood by all Pro NLEs. What you need to think about it the file format codecs.
EDLs have limitations to them – one being single video track per EDL file. So multi track editing needs to be exported into video track based EDL files. Then imported and stacked properly. That goes with any EDL from any to any NLE.
It sounds like the experience factor between Apps is going to seriously hit you so I’d stick with one App for the entire project life. You can look at it in two ways…
1. Look for a FCP editor so you can bring it back and keep working. (So long as there version of FCP is the same updated version of yours)
2. Purchase Production Premium for the Mac system you have FCP on. You probably already have and use Photoshop and After Effects so it could work out to be a cheap upgrade price and attract fast integration between the apps. Plus you get the ease of BluRay with Encore.I would however flatly tell you to not mix up the NLEs. At least not until you have an exprienced person on staff to make the transition happen as smooth as possible. Which I guess makes a 3rd option. Ha!
Good Luck.
Jon Barrie
aJBprods
http://www.jonbarrie.net -
Hi Rose Mary,
I’m interested if you did a clean install with the CS4 Cleaners. I know many mac users aren’t in the habit of uninstalling apps properly as removing apps usually means throwing it in the bin. Adobe’s apps really need to be uninstalled and installed properly. Run the cleaners.
I have worked with CS4 on both PC and Mac and find it solid and stable. On both systems we ran the cleaners.
With any App it has always been standard practice to expect the first release to come with some bugs, not just adobe, FCP 6 has plenty of odd bugs, which was why we only upgraded that about 3 months ago from a rock solid 5.1.4
I hope you find the soon to come 4.01 update a boost to your workflow.
Jon Barrie
aJBprods
http://www.jonbarrie.net -
Tyler. I’m going to guess you haven’t been doing this for too long.
Before OMF and AAF we used to export each track of audio for the entire length of the sequence.
Once we have all of these they should line up in sync. The sync video track is a separate video export with the mix in it for a guide.
The post house would take the full length tracks and manipulate them that way.
It doesn’t take all that long to do this and there is no need for special plug-ins.
Most of my earlier rant was directed more at another post about AAF.Jon Barrie
aJBprods
http://www.jonbarrie.net -
AAF support is coming in the 4.01 update. I don’t know where you got your information about it being dropped altogether.
OMF support is coming in the same release from what I’ve been told.
Stop whining about features that should be there. If people want to edit a project and haven’t done any research before forking out money then they don’t deserve any pity. If people are downloading the software and not paying for it then shame on them.
I’m tired of hearing about problems users are having with hacked software.Jon Barrie
aJBprods
http://www.jonbarrie.net -
Try changing the Quality of Playback to Highest.
My laptop is not having this problem. Maybe your computer is using the auto setting to keep up with as close to RT response?
It does seem to be in draft in playback and high in pause, which indicates the quality is set to auto.Jon Barrie
aJBprods
http://www.jonbarrie.net -
I have it running on a laptop core2duo 1.6, 2 gig ram 5400 SATA drive, playback is 1080 and realtime. Not sure why your desktop, with enough grunt, is struggling. Could be hardware drivers in the graphics card? Is your card running newest drivers? Are you on Mac or PC?
Jon Barrie
aJBprods
http://www.jonbarrie.net -
I must say that all productions are limited by the quality of the original and then the quality of the output. In Broadcast you may be working with an MPEG-2 based clip but it’s running at about 12-16Mbps. DV runs about 25Mbps. DVD is horrible at 8Mbps MAX. (9Mbps really but most players can’t keep that level up).
The biggest thing I can see is that your stills are made up of RED text. Red is the worst bleeding edge colour in the compression spectrum. Avoid it like the plague if possible. DVD doesn’t like red, just how it is – no fix. If your clients want the best possible quality then you need to ‘educate’ them to use a miniDV playback setup instead of DVD. Better bitrate = less compression = better edges.
Also, your testframes with footage look like they are de-interlaced, that’s going to soften the hell out of everything, especially edges of text. Effectively you remove half the details by de-interlacing. That will have a large quality affect on DVD too.
1. DVD is not the best blown up.
2. RED is bad.
3. DONT DEINTERLACE
4. miniDV playback might be your saving grace.
5. Educate the client/s with DV playback Vs DVD (huge difference)
Cheers,Jon Barrie
aJBprods
http://www.jonbarrie.net -
If you have a corrupted prproj file from Premiere you can import it into a new project. Just import the .prproj project like any other media. If there are still problems you might have to delete the render folders as they may be causing the problems. But importing a prproj file is straight forward. You can then copy the seq you want to recapture. Start a new project. Paste, the seq and all bit involved will come in. Even if they are just offline files for a batch capture.
Jon Barrie
aJBprods
http://www.jonbarrie.net