Marisu Fronc
Forum Replies Created
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Josh-
Did you check the head of the still – it too should not be at the begining of the clip (even though, theoretically a still has no set duration) – try moving the inpoint into the still as well – that should take care of it.
slainte,
marisu -
Alex-
I’m sure that the subfolders are the culprit – I just haven’t figured out why it matters on some of the systems and not on others.
slainte,
marisu -
Alex-
You’re right, and I wish it were that simple, BUT – in practice it doesn’t work reliably on all our systems just by folder (our sound man and one of the artists wasted HOURS before I started the drive letter thing, probably because we have tonnes of sub folders (scratch VO, music, final VO, graphics and subfolders within that by scene, etc) and you have to relink through each, back and forth) – there is SOMETHING (don’t know what, maybe the media cache??) on some of our systems that means it ONLY works properly every time when we do it this way. Since we’re always working on a bunch of stuff at once (right now I have 18 new shows, a three-hour behemouth in revision, 8 spanish translations, plus a bunch of customized versions of programmes) and passing it back and forth constantly, for us, at least, it is a time saver. Obviously your mileage may vary!
In any event – IF someone has a problem with the need to relink media this bypasses all the hassle.
slainte,
marisu -
Alan-
Alex has it spot on EXCEPT for one key point – you need to make sure the drive is labeled with the LETTER designation, and make sure each user assigns that letter to the drive when they load it in – otherwise Premiere will want to “relink” everything (which is easy enough, but MUCH more time consuming than changing a single drive letter designation). We have a bunch of swap dirves in trays set up and labelled with its name (ie: swap 1, swap 2, etc) and it’s letter designation (R, S, T etc) – if you “block out” certain letters (the end of the alphabet is good) for this use then no one should have to “reassign” any of their internal drives.
slainte,
mairsu -
Curtis –
I’ve had some slight hitches (in reverse) bringing in edl’s with mono audio to premiere – the biggest one is that although it sees the file in the project window as left/right or mono the files it captures is actually DV compliant stereo SO . . . it won’t relink the files if you happen to crash during capture. Once I figured that out I captured each roll one at a time and saved after each was complete. The only other hitch was if I then wanted to bring in sources NOT captured through the edl – now I need to have both stereo and mono sync tracks (and god forbid you only want to use one channel – it will “create” a new track for the other one (which always seems to end up offscreen) and then I have to go down/clear the extra track and delete it. It does, however, work – which, in the end, is all that matters.
slainte,
marisu -
Alex-
Yeah – that’s the way I usually do it – I thought perhaps there were elements that DON’T travel with the edl (in other words non-timecoded sources) that perhaps would be easier to import into the project via AAF. I usually strip all the non-recapturable sources out of the timeline – export an edl – import it into premiere, then import and hand cut in all the graphics/etc (which can take forever). If there is a better way I’d LOVE to find it! The downside to this is, of course, the problems caused by dealing with an edl – Premiere in particular has a lot of trouble with audio (as in – it doesn’t relate it to video and can see it as mono, left and right tracks or stereo track – which can require capturing the same thing 4 or 5 times), but, in the end, it is easier than starting from scratch and certainly meets the stated goal of knowing in & out points and where they fall in the program.
slainte,
marisu -
Curtis –
Have you tried exporting an edl? Not as elegant a solution, but you will definitely get a sequence (perhaps combine this with the aaf or a batch list of clips for capture)?
slainte,
marisu -
Vince –
I have noticed this on QT’s with alpha – try this to see if it fixes your issue – slice off the last frame, select hold on first frame and set speed to zero and retrim the clip – for some reason it gets rid of the shift on the QT’s (although theoretically all it’s doing is showing the same frame it was using in the first place, but it seems to treat it differently).
slainte,
marisu -
Brian-
I also have the same two devices, and multiple firewire ports HOWEVER Premiere will ONLY recognize one device (deck or camera) and it doesn’t give you a choice of which one it sees – so even with the multiple ports I still have to plug and unplug.
slainte,
marisu -
Hey Pat-
We’re still having memory errors – but it is MUCH more manageable under 2.0 than it was under 1.5. We have NO hardware acceleration. Projects slug down as they get bigger and bigger (as in more sources and sequences). Not too many crashes (no more than 1 per day) but that’s because I watch my memory usage like a hawk (taskmanager is my BEST FRIEND), save frequently and exit and restart when the memory use climbs too high (oh, and never, ever, open another project without exiting and reopening Premiere – it’s like asking for a crash!) All in all though, most days it’s doable.
slainte,
marisu