Jon Barrie
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Hi Andy,
When you go to File>Export>Media… you will open the Adobe Media Encoder and have all the settings at hand.
On the right side you can see a whole bunch of drop down listings. Click on the “Format:” You should be able to select Quicktime from that listing. If not, then you don’t have Quicktime installed (which is adobe recommended on installation)
Then from “Preset:” Select the standard of your country (PAL or NTSC). Then select the Video Tab next to Filters tab and select from the Video Codec list “JPEG 2000”. Then make sure all the settings below match your project settings. It will all be based on the DV settings so be sure to match the frame dimensions etc. Audio tab should already be set to uncompressed 48K Stereo etc.
– Jon Barrie
Jon Barrie
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What you are referring to is called lift and extract. Basically you are lifting when you want to be extracting.
This is done by setting the in point at the start of what you want to cut out and set the out point at the end of the section you want to remove. Then hit the short cut for extract. “;” is the shortcut key. What this does is lift up the marked section and closed the gap created. Effectively lift just lifts out the marked section and leaves the gap. The shortcut for lift is “:”
This is how pro editors cut on the timeline. It’s way faster.
– JB
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Is it possible you have set in and out points on the sequence and have the loop function the the program monitor? It will only play back in the in out section when you hit play with the loop on. Clear the in out points. Shortcut is “g” key.
Jon Barrie
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I have found that I get better render times if I export native HDV then import the single HDV file and fit that into a DV sequence and export to DV that way.
JB
Jon Barrie
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Hi Andy,
I know you don’t want to hear this, but you are respsonsible for the research you do for your NLE choices not Adobe.
I work with both all the time and have noticed a big swing amongst fellow editors to work in premiere and stay there. FCPs need to convert everything to mov wrappers makes cross platform work tricky. This is the nature of the beast.
If you want to export out the final edit follow previous advice to export with QT jpeg2000 settings…
If you want premiere pro to be final cut pro with the way it media manages a trim edit for cross platform – you only have your own research to blame.
You have the ability to use the export to FCP XML. if you don’t want the FCP editor to see your full files that is not the design as yet. You can use the project menu to remove unused media before exporting the XML file. But that will only remove any media not used in any sequences.
Getting upset won’t help you. Blaming others for your choices does nothing for you either. Keep in mind here that the people you are asking to help you don’t owe you anything.
Seeking advice and being grateful can get you further than ranting about wasted money.
Jon Barrie
Jon Barrie
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How does this help Andy? He is on windows 7…
Read the problem properly and then offer advice please. This lack of detail before responding is enough to frustrate further.
Respectfully
Jon Barrie
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I’d be interested to know if your workflow overall time to export to a single ProRes file is and the encode that master file to other is any quicker than just sending the export directly to AME and exporting to your formats immediately?
You can duplicate the export queue to setup multiple export types. It will save you a massive amount of hard drive space. Exporting to a separate drive from OS and media can make a difference too.
Cheers, JB
Jon Barrie
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The black bars are there because DV 720×576 anamorphic isn’t true 16:9 it’s a bit wider so the bar appear when you use a 16:9 square pixel frame.
The at around this is to use the crop feature in AME. set it to 16:9 and cross reference the source to the output and you will see it cuts a bit off the sides to compensate.
Let us know how you go.
– JB
Jon Barrie
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This is quite simple. Select the pen tool.
Open out the audio track and set the view of it to show keyframes on the actual track. Then marquee select a box around the first keyframe all the way out to the end of the sequence. Now all the key frames are selected and can be moved as one group in sync with what you had before. Just get the first keyframes position right and the rest of the selection will fall into line. 😉Jon
Jon Barrie
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Whoops. Forgot to mention to use the numpad. 😉
Jon Barrie
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