[Mads Nybo jørgensen]

Hey Raydrick,

I would be interested to know what your original source footage are?
And, is all the footage running at the same frame-rate?
Adding that it sounds like you are moving between ProRes 422HQ and Proxy files in the same time-line. Which might be part of the problem, although my luxury has always been to work on the source footage, rather than proxies, so I don’t have any experience with that.

In general, as painful as it is, you’ll always need to watch the final rendered file for QC and catching glitches – that is just the nature of the beast when delivering.

If the glitches always appear in the same place, it could be a rogue key-frame in the effect panel?

If just for viewing, you could consider doing full version out. Import into project, and render out the parts of the time-line where the glitches appears. Re-insert those, and the render the whole file out again – depending on codec and quality of footage, this should be acceptable for a viewing copy.

If your current version of PPro is not working, do consider upgrading, and use a copy of project to test it out on. Depending on what version you are using, you can always roll-back and use the original project.

Hope this helps.
There are smarter people around here, who might be able to offer additional asistancce.

Atb
Mads

[Mads Nybo jørgensen]

It could be worse, much worse.

Currently reports from MAX, is suggesting that Adobe is spending more money on developing PPro/Photoshop Elements , than on the main PPro NLE – a few years back it was promoting Rush (Adobe Express – appears to be a competitor to Elements).
Not withstanding the $ 20 Billion spent on Figma.
After spending $ 1.5 Billion on Frame IO.

Maybe the “old” editing platforms are dying out, or the Adobe CC users are happy with status quo?
But spending that kind of money without taking the “high-end” tools to a higher level, is a bit of a concern.
OK, in all fairness H.264 export has at long last been added to After Effects – but that is pocket change at least 10 years too late, in comparison to what Adobe is spending elsewhere.

Would be nice to have a road map, or at least some understanding of the thought process behind the scatter approach by providing so many different “same functionality” software packages?

[Mads Nybo jørgensen]

Boris FX Continuum BCC Misalignment effect should do the trick for you.
It is a part of the BCC Stylize package.
https://borisfx.com/documentation/continuum/bcc-misalignment/

They do offer a free trial, but don’t know if that comes with a watermark as an “optional” extra.

[Mads Nybo jørgensen]

Eric, I hear you.

It can get a bit tedious when one over a 20 year span keeps on getting the same questions, when a quick search could have given the answer.

Although, if we didn’t get the (same) questions about some of the new toys in our field, we would never be challenged to improve on our advice.
– that is coming from someone who entered Broadcast News at a time where one could not possible broadcast anything made on VHS – it had to be produced on the superior U-Matic LowBand… 😱

Look at us now; if it ain’t low light, easy sound, it won’t belong on YouTube, Tik-Tok and what else have you 🤩

[Mads Nybo jørgensen]

Thank you for the recommendation – I shall give Resolve a spin, once I get through refreshing myself on Avid.
Although both PPro and FCPX let’s you jump around between various set-ups, I get the feeling that Resolve keeps on being ahead when it comes to color correction.

Mads

[Mads Nybo jørgensen]

Hey Bob,

I hear you, and I see you 😀

Yes, I myself have been busy with life, and only in the last 8 months put the COW back into my in-box (started subscribing to my favourite forums, and a few more).

It is a crowded market out there when it comes to Social Media – back when the WWUG started out, there was no FaceBook, Twitter, Instagram, Tik-Tok and who knows what.

I’m sure that there are many “lurkers” around here, who goes back to the day when it all started, but we all need someone to start that conversation, and keep it going – well done for kicking it off 😉

In any case, does Resolve users have more fun?

I went to PPro on PC, then added a Mac with FCPX, and now I am relearning Avid – at least they all have the “I” and the “O” buttons in common… 😎
Still not taken Resolve for a spin.

Atb
Mads

[Mads Nybo jørgensen]

Hey Michael,

Adding my 5 cents to all of the other great advice that you’ve already got.

When editing 4K on my HP Laptop (ZBook Pro, i9, 64GB Ram, NVidia Quatro RTX 3000, 1 x 500GB C SSD for boot & 1 x 2TB SSD for media). It works fine without going to proxy.

However, I run my Adobe project of the main drive, and all media of the secondary drive, or external SSD (tend to favour Samsung T7 @ up to 1050Mbps, USB-3 on a USB-C/Thunderbolt connector).

If it is a large scale project, I would recommend external raid or similar.

I still use the old adage of keeping at least 25% of free space on my drives for faster read/write.

On very large projects, even in HD, I save a new project version, and delete old time-lines from that just to keep the file-size down on the project itself.

You might also find it helpful to delete all of your rendered files, just to clear out the system.
WARNING: If in proxy editing mode, be careful that you do NOT delete the proxies.

Hope that this helps – Good Luck

Atb
Mads

[Mads Nybo jørgensen]

Hey Andre,

Are you able to play the clip in any of media viewers on your Mac, like VLC?

If not, the problem could be that the files either didn’t “close” properly, or are missing some kind of MXF auxiliary file, or that a different codec was used on the EVS to that of the previous batch?

Have you got either FCPX, Compressor or Resolve, just to see if they’ll take it?
Although FCPX is notorious for rejecting anything and everything, in comparison to PPro.

Alternatively, do consider rolling back PPro one or two versions, and see if that works. Adobe in the past have had a habit where they removed codecs/”containers” for one reason or another.
MKV format was the biggest surprise, which has still not been explained.
Although that is in the other end of the scala in comparison to what one would expect from EVS files.

If you have done it before, there is no reason for why you should not be able to do it again.

[Mads Nybo jørgensen]

Hey Deacon,

Apple and Adobe is competing on who can use QuickTime the least – it is being binned. Don’t know if that is part of your problem?

Have you tried to export your file to H264, and play in VLC?
That might do the trick, and still give you an MP4 file.

/ Mads

[Mads Nybo jørgensen]

Hey Andre,

Did you upgrade PPro between those imports?
I’ve heard of a few users that have had to roll back their PPro upgrade to the previous version.

Only other thing I can think of is to transcode the MXF files that won’t import to a new file format to see if that works?
I have a client, very big company, where some of the files generated on their system (not EVS) has to be transcoded before PPro will import them.

Would like to know what your solution is, if you find one.

Good Luck!