[Joseph Freeman iii]

Hi Greg,

Have you attempted to copy all the files in the nested folder, and place them on your timeline, then attempt to relink the files? (backup your project first)

Joseph

[Joseph Freeman iii]

Hi Vera,

Sounds like a read-write permissions issue with the hard drive folder… I suggest checking permissions, not only the project and files folders, but also the various Premiere Pro temp and auto-save folders.

Joseph

[Joseph Freeman iii]

Hi Daniel,

I had the same issue last year, after CC2017 came out. The issue was Red Giant was possibly caught off guard to changes by Adobe. They responded the same day (about 10-12 hours later) I requested support…Is Magic Bullet up to date? Possibly that is the issue…

A hard solution would be to copy all your custom Looks to a temp folder, uninstall MB, and manually delete any magic bullet folders, restart your computer, then reinstall MB, update, then copy your custom looks back into the correct custom folder. This is what I did when I upgraded to cc2018 upon the advice of Red Giants support staff (I inquired before upgrading).

If you discover the solution, maybe a follow up post to this thread would be helpful to others.

Joseph

[Joseph Freeman iii]

In this case, all material is in multiple bins…otherwise a painless solution.

I just went thru and manually removed all offline items…the project loads quickly without all that overhead and overall “seems” to be more responsive.

Thanks for responding.

[Joseph Freeman iii]

Vahid,

ProRes is licensed only when Premiere Pro operates on an Apple computer, and is unavailable on a Windows based PC. If you are operating on a Mac, then I do not know your answer, since my PC operates with Windows 10.

An alternative in a Windows environment is to use Assimilate ‘s “Scratch” software. It is a stand alone program and is available for 30-days as a fully functional trial copy. Here is the URL: https://www.assimilateinc.com/products/

I hope his helps.

Joseph

[Joseph Freeman iii]

Hi Jeff,

I stumbled onto Scratch by my quest to find a reliable Windows/ProRes solution. Previously, I used an in-expensive conversion program (Borsoft) which uses a reverse engineered process. For this current project, the distributor requires ProRes, as the delivery format, and I just didn’t want to chance any issues, especially when in the media metadata (I use MediaInfo to check) there was some off the wall name next to ProRes.

I found out that Scratch was license from Apple, so my confidence level increased. It has much more under the hood than transcoding, but for now this one feature is my main focus. The non-standard interface and non-intuitive workflow requires some careful attention to their tutorials and help guides. But after one or two conversions these issues are in the rear view mirror. The choices of media codecs begins with the Red 8k Raw format and ends with formats probably never used today, but are for legacy conversion work.

I would highly recommend trying the trial version (I believe it is fully functional for 30 exports) to anyone needing a ProRes solution on a Windows platform.

I agree their marketing could be improved.

Joseph Freeman

[Joseph Freeman iii]

Rich,

For the past year I have been using Red Giant’s Universe (https://www.redgiant.com/universe/) which is a collection of drag and drop transitions and effects. They work both in Premiere Pro and After Effects.

There is a free trail.

Maybe this helps.
Joseph Freeman

[Joseph Freeman iii]

Jeff,

Your last point about “Scratch”, it is one of the few products Apple has licensed to export ProRes. I could not afford to purchase it at $650.00 per year, so I opted for a monthly subscription of $79.00. It is designed for motion picture workflows.
https://www.assimilateinc.com/products/

I plan an extensive comparative test and will employ the results on my next project, which will be shot with a Red Scarlet camera, with new headaches I’m sure.

You have been very helpful and I greatly appreciate your help.

Joseph Freeman

[Joseph Freeman iii]

Jeff,

My logic for “I’ve favored MOV/Animation due to the uncompressed advantage.” is that the uncompressed copy would maintain exactly the quality of the original footage without any further compression. Certainly, one can’t restore discarded image information, lost info is lost info.

Storage space is not an issue for me, so I don’t favor h264 as a candidate for my transcode medium, due to higher compression than the codecs you recommend.

Interesting sidebar, I have had occasional audio sync issues when rendering Premiere Pro projects in Media encoder (all material verified to be 23.976) and yet the same exact project renders In-Sync as a Premiere Pro Export. Each render was MOV/Animation, with Red Giant’s Denoiser III, max color depth, and max render quality. These renders were the Master of the final project to be imported into “Scratch” to create the ProRes version for the distributor. I then rendered H.264 from the ProRes were my check prints, so to speak, to verify quality on my end and to preview on Vimeo.

It seems that if I modify my workflow to incorporate your suggestions on denoising an intermediate before editing, I will save overall storage space, gain faster final render times, and eliminate AMEs possible sync issues. Though I have to test which of the two suggested codecs to use as the import codec for “Scratch” to create the ProRes version for the distributor.

You recommend CineForm and DNxHD, in your experience what advantage is one over the other?

Any further constructive observations would be greatly appreciated.
Thank you for your continued help in solving my initial workflow question with denoiser.

Joseph Freeman

[Joseph Freeman iii]

Thanks Jeff for your speedy reply.

I’ll test which codec best serves my workflow needs and plan for extra storage and time for pre-editing transcoded material.

I’ve favored MOV/Animation due to the uncompressed advantage. Since I don’t anticipate viewing in a theater, one of these suggested codecs may be the right approach to eliminating the denoiser rendering overhead during the editing phase of POST.

For a current project, the distributor mandates the delivered material be in the ProRes 422 HQ format, which unfortunately isn’t licensed to Adobe by Apple for the Windows environment. My work around is to use Scratch to produce the ProRes from an uncompressed MOV/Animation render. As you can imagine a 20 minute master is 160+ GB, whereas the ProRes is 26+ GB.

Thank you for your confirmation on pre-editing transcoding as a legit workflow method.

Joseph Freeman