Josh Weiss
Forum Replies Created
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I beg to differ, I think you will still see major real time improvements over FCP7. Even if something is given a red bar, that doesn’t mean you have to render to playback. On my 12 core mac pro, 64 gb ram, but no nvidia card, I can easily play 4k red one files in a 1920×1080 timeline, with no rendering. I can even add effects like corner pins, and keys and still play in real time. Maybe I’ll have to reduce to half res sometimes, but not always. This is from a RAID btw.
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You should just be able to drag the clip into AE from finder or explorer and it will come in as markers.
https://help.adobe.com/en_US/premierepro/cs/using/WS29F692D2-7A49-44db-A109-AE016B766767.html
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Hey, as long as it worked!
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Chris, not sure why that worked, transparent video is to be able to add filters above your video, like the timecode effect. It shouldn’t have to do withe exporting the alpha. Are you sure you didn’t just need to change how fcp brought it in. In other words, change the alpha from none to straight or premultiplied?
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In terms of workflow, I would think either is fine. Premiere Pro will actually reencode anything in the timeline, so it is an extra step of reencoding your video, even if it has been all rendered out of AE.
The good thing about doing a clip by clip render out of AE, then exporting out of PP, is that if your edit changes, it is a lot easier to update an edit in PP than in AE. This would be the workflow I would use for this reason. Do one shot at a time in AE, render, have in PP timeline, perhaps even with extra heads and tail. Then use PP as the timeline to keep everything together, and more easily editable. Though it all depends on the project.
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Like you I am new to Premiere Pro, still using FCP for my day to day. I will try to answer your questions.
1. Quicktime/ProRes: most of our source material is feature films (we cut trailers), which we receive from distributors as QuickTime ProRes files. These are usually 100GB or so, ProRes 422 HQ, with multiple audio tracks – Dialog, Music, Effects, Full Mix. When I tried to bring one of these into Premiere, there was no audio. I had to go into Quicktime and ‘strip’ out all but 1 stereo audio track. Does Premiere NOT support Quicktimes with multiple audio tracks?
Yeah, I’ve brought in multitrack quicktimes without an issue. Not sure what the problem might be here. Maybe someone from Adobe could answer.
2. I need to display the timecode of all my tracks in the ‘program’ monitor, the way FCP does through its ‘Timecode Overlays’ function. I cannot find this capability in Premiere. (Need to see the timecode in real time of each track in the timeline at the current position.)Can’t be done in the program monitor, but don’t use these effects to do it. It can be done. Just load up the info panel and dock it somewhere where you can see it. It will show you timecode of all your tracks. Not in the program monitor, and No color coding like fcp, but real time timecode of all tracks none-the-less.
3. Our workflow is to export sequences as QT reference files for conversion using mostly MPEG Streamclip. Can Premiere export QT reference files?
I don’t think so. However, you can queue things to export in adobe media encoder, so at least you can keep working while they encode. Got to File Export Media and instead of hitting export, hit queue.
4. I tried several times to export XML from FCP to import into Premiere, but failed every time. I tried all versions of XML … is there a trick to getting this to work smoothly?
How did it fail? What was the error message. Xml 4 or 5 should be fine, but i have had random import errors with codecs as well.
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P.S. If it’s easier to do these based on time remapping precomp values, that would work for me as well. So really then, it would just be triggering a time remap based on mouse overlay.
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After more time, I think this actually may be a FCP7 / QT issue. I thought it was an AE issue, but then I realized that both Premiere Pro/ After Effects/ and FCPX saw the timecode right.
So it might just be a different way of annotating timecode, but I’m not sure.
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Walter,
I went back and did some tests today. I had my friend do the CS5.5 tests as well. Here is what I found, you are correct with CS5. If you manually enter a timecode in AE, it will come back to FCP. The reason I had abandoned the hope of doing that, was because I was modifying to 24 base setting in FCP under item properties. When you do that, it changes your timecode (try it with a clip in the middle of a second, for instance it would probably change frame 15 in what it thinks is a 30 base to 12 in a 24 base). Doing it in the modify menu as you suggest does work, but you have to manually reenter your start time when FCP screwes it up as described above.
With CS5.5 however, it just totally screws it up.
As you can see above, the top clip is the original.
The middle, and totally wrong clip is CS5.5 (though the timecode was right in AE and right in premiere).
The bottom clip was rendered in CS5, but i didn’t change it to 24 base yet so the timecode is still right.What this shows is unfortunately not only has the 24 problem not been fixed, BUT the timecode is doesn’t even come through at all!
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Walter, unfortunately this doesn’t solve the problem. If you adjusted your start time in AE, to say 05:15:07:00, your new timecode in FCP for your start time will be probably a good hour off, so even if you change to 24 for your TC base, the timing won’t line up. I have a friend who got his hands on a copy of CS 5.5, same problem. So I had him do a test in premiere and everything works just fine. Its some tag that AE is reading that no other program reads. Even tried in the AJA utilities and they see it the same as FCP.