[Matt Scholes]

(Just to add to this, it won’t seem to let me create subclips due, I think, to the titles)

[Matt Scholes]

This is exactly what I was looking for. Great info, thanks

[Matt Scholes]

Did you ever figure out a good workflow to sort this?

It’s basically the only reason I’ve not entirely abandoned Adobe PP yet

If you aren’t willing to change you shouldn’t be editing” – Richard Marks

[Matt Scholes]

For the record I just discovered if I move the clips down and they start panning left, and I then drag them back to their original tracks, and THEN drag them down again to a new track, then panning goes back to being centred.

How utterly bizarre. This is the last time I ever choose to use Premiere for a serious long form project. It’s so unstable in so many areas and really isn’t fit for purpose. Adobe has had five years to sort audio out and help message boards are still full of random complaints about fundamental audio issues.

If you aren’t willing to change you shouldn’t be editing” – Richard Marks

[Matt Scholes]

Just wanted to reply to this to say THANK YOU.

I’d wasted so much time trying to figure this out.

I’d not been able to import any of the SRTs at all. But opening in BBedit and ‘saving as’ using Windows line break formatting managed to solve this. I then experienced this problem of it only importing a certain number of lines of subs.

It was a bit time consuming, but where the subs stopped in premiere was where there was a timecode or space error in the SRT text file, so I then would go back into BBedit, correct this, save it and reimport. I had to do this a few times on each file as there were numerous errors, but it worked perfectly once it was all correct.

Thanks again

If you aren’t willing to change you shouldn’t be editing” – Richard Marks

[Matt Scholes]

I think you’d probably have to match frame each clip from the timeline to get the timecode and then replace with the merged (I think merged clips should have the same video TC).

If you aren’t willing to change you shouldn’t be editing” – Richard Marks

[Matt Scholes]

Hi Pilar,

Can I ask how this went for you?

I’ve just begun prepping a feature doc and it’s been a headache. I started using the proxy ingest workflow with the intention of just the toggling on and off function, BUT the original RAW media was spanned across 6 different drives, so when I ejected the first one to started transcoding the next batch, Premiere wouldn’t link to just the proxies, it wanted the RAW media , even with toggle mode on, and if I tried to offline it it became a real mess. (FCPX does do this really well, you can edit with just the proxies and the raw media no where near your machine but I’m too far deep in the transcoding now so cant start again with FCP).

So my idea is the same as yours, essentially using all the hundreds of proxies I’ve already made from Premiere and using them (minus the proxy name suffix) as original media, and then on completion link back to the raw material (once its all collated onto one large 12tb! drive) . So before I’m in too deep I want to be certain it will all link up. I’ve done a couple of quick tests bit I find Premiere a bit unstable and it always seems to offer up unpleasant surprises ☺

So would love to hear how this went for you

If you aren’t willing to change you shouldn’t be editing” – Richard Marks

[Matt Scholes]

If you’re in the main project panel with nothing highlighted and make a search for whatever word you’re looking for it brings up all the clips that have links to that word (so if it’s in a marker or log note etc)

If you aren’t willing to change you shouldn’t be editing” – Richard Marks

[Matt Scholes]

Thanks for all these replies, they’ve been really helpful.
I did weigh up getting the mbp v an imac and I’m reconsidering my purchase now!

If you aren’t willing to change you shouldn’t be editing” – Richard Marks

[Matt Scholes]

I do appreciate this, I spent the last 18 months working on a feature doc shot in old fashioned 1080p so perhaps I’m a little behind the times with how 4k works and the amount of power needed.
I would just say however that it seems like a huge amount of extra expenditure for a process (transcoding rushes in the background) that I used to be able to do incredibly simply with high quality 1080 material in a relatively inexpensive mbp machine.

If you aren’t willing to change you shouldn’t be editing” – Richard Marks