[Mark Dagostino]

Same issue here. I went on some other forums and an Adobe rep said the are “working on it”. The recommended fix that worked for me is to go to Workspaces, select the default “edit” workspace and then go back to your preferred workspace. That seems to work till I start another project and have to do it again.

[Mark Dagostino]

Thanks, as well Jeff. I really appreciate this.

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

Thanks, Shane. I’ve been using XDCam for my setting all along. I’ve been at this for many years and am still struggling with “wrapping” my head around wrappers and codecs:)

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

Thanks for your reply, Jeff. Sorry. I should have stated Mac. I’m, actually not concerned about how it exports. I export h.264. I was just wondering what codec in the drop down for sequence settings is best optimized for mxf for editing. What I do works well, but I’m simply curious, as always, if there’s a better way.

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

This will smooth our your workflow. If you can view 1080 files at full res then you’ll be able to view proxies at full res. Once you add color correction or effects then you’l probably have to go to 1/2, 1/4. Under the Program window you’ll see a “+”. Click that and drag the “toggle proxies” icon onto the icon bar under that window. Hover over the icons and the name will pop up so you know which to grab. This will allow you to toggle between the proxy and 4K while editing. You’ll want to actually leave the proxy on and only toggle top 4K for color correction or to see the quality if you decide to scale up a clip size. While you are new to this, this is worth learning if you plan to do 4K.

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

This may not work but try right clicking the clip in Premiere, select “proxy” and “attach proxy”. Maybe you are actually just seeing the 6K clip and for some reason the proxy is not attached.

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

I edit 4K in Premiere using proxy files. These are much lower resolution files that are attached to your original file. There are short tutorials on how to easily create these. Essentially when you ingest your footage Media Encoder automatically opens and creates the files and then you edit with the proxies so there’s no freezing up while trying to scrub through footage. I create 720p, mov versions. When it is time to export, Premiere knows to export the files as 4K automatically. It really is easier than it may sound.

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

Thanks, all for your kind advice. What I’ve come to realize is that each room, each situation has it’s own solution and there is not a one-fits-all solution. Sticking to the basics of good cabling, keeping cable away from and not parallel to potential sources of “hum” and understanding and respecting grounding and ground-loops are a necessary base of knowledge for anyone trying to record professional audio. In my case the issue appears in only one room in a large office building That at least leads me to a room issue rather than a gear issue…I think:)

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

This is a video studio, not that it matters but I forgot to note that. I do believe a room can be too “dead” and over the past 35 years I’ve cared about the quality of audio as being equally as important as the video I capture, if not more so. In fact, I’d rather watch lesser quality video with a great soundtrack, than outrageously great video with poor sound.
I’ve never embraced “sloppy amateur hour”.

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5

[Mark Dagostino]

Thanks, Todd,
My only objection to the paper roll was the waste in an environmental sense, (yeah, tree-hugger). However, your point is well taken. In fact, that’s exactly what we have in our larger studio. I did check out the eBay link. Dang, you aren’t kidding about the cost. I may start there.
I appreciate the help:)

Mark D\’Agostino
Video Producer
Creative Media Productions – Exelon
Baltimore, MD
MacPro,2.7 Ghz 12-Core Intel Xeon E5, 64GB 1866 Mhz DDR3 ECC, AMD FirePro D700 6144MB, AJA Io XT, Yosemite 10.10.5