[Matt Dunne]

Hi Kelly by any chance are the files you’re trying to make offline a multi clip? I don’t think that will work so try the same process with your media but in your project panel instead.

Before you do any of this I would suggest duplicating your project as an “ONLINE” project because reconnecting to your full rez media might mess with your positioning keyframes and you’ll want to have a backup incase you need to trouble shoot anything.

Hopefully this helps.

-editor of things

[Matt Dunne]

Hey John, one solution might be to add a metadata display for “Video Usage” in your Project Panel. That way if you’re timeline is labeled “…conform” or something you’ll see the clips that are used in that timeline. Unfortunately it only gives you a number of the amount of times the clip was used so try making a new project for the conform and deleting all the other cuts so every clip that’s in this timeline is shown in the video usage column and nothing else.

The only other option I can think of is to change the label color of all your clips in the timeline to something and then in project settings click the box to Display the color change in your project panel. This would show you all your media labeled with the same color.

Hope that helps.

-editor of things

[Matt Dunne]

Hey guys thanks for your responses and trust me I know about the importance of a picture lock. We try to enforce it and be as straight forward with the expectation as possible but it’s not a perfect world and at some point someone will want to make an adjustment. However; we found a work around. It’s a little strange but it works well.

Our original footage is 8K from a red weapon so storage and processing power were obviously a concern so we worked with 1080p proxy files. For each clip the footage was brought into an 8K pre comp and that pre comp was worked on, the theory being we could swap that pre comp out with the red files and not have to reposition anything. We tested this with the raw files and it worked like a charm. So now the tricky part was the heavy lifting of those 8K files. We don’t want to work off the entire clip since we’re really only using a second or so. What the compositor did was give me the clip name as well as their in and out timecode. I would take that raw file into premiere and drop the entire clip into an 8K timeline. I would then edit their in and out points BUT leave black video where the remainder of the clip would have been at the head and tails of each clip. Then I can spit out an XML to davinci, they can color that clip, give me the entire thing back and all the speed remapping and compositing done in after effects translated beautifully. Also the clip with black was about 3 GB where as the full export was around 40 GB.

I know that’s a weird way to go about it but so far so good. Hoping it helps anyone else who finds this post with the same issue. Someone in the pipeline always gets screwed and their time gets crunched but in this case we were able to figure out a clever little work around. The main takeaway is that 8K files and tight turnarounds don’t really play well together.

-editor of things

[Matt Dunne]

Welp, never mind I think I solved it. Looks like since we moved it to a new computer it’s actually an older MBP with USB 2. Wish I had realized that before I hit post…

-editor of things

[Matt Dunne]

I don’t think there’s a way to “un-nest” a sequence but here’s a workaround I think might work. Markers will translate through the nest so in your master timeline place a marker on the clip (not the sequence) and when you open up your nested sequence in it’s own timeline you will see the markers. Then you can cut, copy, and paste them back into your master sequence. Maybe do one marker for the start of your edit point and a second one at the end so you have an “in and out” type of workflow.

Hopefully that will help.

-editor of things

[Matt Dunne]

Hi Nat, stab in the dark here but my assumption is that Premiere is showing you the full resolution clips whenever you render. This is true when you render and export with the new proxy workflow. My suggestion would be to create proxies that are 1080p, do your offline edit and then when you are ready to color/conform connect to your 6k footage.

As a side note it would be helpful to know where your footage is being cut from, raid, external or internal drive etc.

Hope that helps.

-editor of things

[Matt Dunne]

Hey Tim, have there been reports of instability? I’ve had the program unexpectedly shut down 4 times during back up and verification now. Different drives and different tapes. It seems random.

-editor of things

[Matt Dunne]

Thanks Tim, I didn’t see that note (stupid Apple). Back up and running. Appreciate it.

-editor of things

[Matt Dunne]

Hey Bill, you have to create the encoding preset first. Then right click on it and hit “Create Ingest Preset”. When that dialogue window appears it gets a little confusing. Click on the “Transcode files to Destination” and change the format to whatever your encode preset is set to. For instance if you made the encode preset a pro res proxy file you’ll change the “FORMAT” to QuickTime and then navigate down to “PRESET”. There you should see whatever you named your encode preset.

Let me know if that solves it.

-editor of things

[Matt Dunne]

Yup.

-editor of things