Michael Grenadier
2
Avid Coins
15
COW Coins
2
DaVinci Coins
8
Premiere Pro Coins
Forum Replies Created
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First, there is a difference between 24fps and 24p (which is actually 23.976). I’m assuming you mean 24p for your new footage.
How were your old newsreel footage clips digitized? If they were transferred “properly” It may be possible to remove the pulldown to restore the clips to progressive 24p. Happy to describe the details of exactly what’s going on here, but probably not necessary. I abandoned apple editing software many years ago when Apple abandoned fcp7, but this used to be possible in Cinematools which was part of FCP Studio. It may still be possible in Compressor, but you’ll need to do some research on that. It is a feature in AfterEffects if you have access to it.
Removing Pulldown will give you better quality than just deinterlacing and retiming. Also, scaling the SD material in compressor with the best quality options enabled will probably do a better job of scaling than FCPX albeit with a much greater rendering time.
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not everyone’s having issues with premiere 2021. I’m not…
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please tell us your system specs including OS, RAM, graphics card and your source properties and sequence settings. By any chance were any of your sources from a smartphone or screen recording? If so, the problem may be caused by clips with variable frame rate which can have unexpected and unpredictable issues. Use mediainfo to determine if any of your sources have vfr. If any do, use handbrake or editready to convert to a constant frame rate.
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I’ve always had issues relinking to media from xml files in resolve. sometimes it works… sometimes it doesn’t.
don’t know if this is the issue but many cameras recording avchd create “spanned clips” because the format of the card has a file size limitation. When the file size limitation is reached, the camera creates a new file and theoretically your editing software combines the files to create the clip. Unfortunately, this usually causes issues with xml files brought into resolve. What editing software was the editor using? I’d suggest he output a full rez output which you can then import into resolve and use an edl exported from the editing software to “add edits” in resolve. Resolve does have an edit detect feature, but I haven’t had much luck with it.
What I do, is usually output my “spanned” clips from premiere as a high quality video file and then relink to this file rather than the spanned clip.
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wondering what would happen if you tried loading the project with all the media offline. That would help troubleshoot to figure out whether it was something inherent in the project or in locating the media (although normally you see a window telling you that premiere is locating the media). Also, have you tried creating a new project and importing the old project into the new project rather than opening the original project?
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are you seeing this within MC or in your output? If in your output, is the format an mpeg format? If so, that’s the nature of the compression. I spent a few days years ago, trying to figure out why I wasn’t seeing clean black at the beginning of my outputs. Finally figured out to make sure I had clean black on the first frame (and last frame) of a sequence, I needed to add a few frames of black at the beginning (or end) of the sequence.
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well it’s a year after your post, but I seem to have solved the issue of getting a subtitle file from Premiere into Encore.
https://transcribefiles.net/other/pages/caption-subtitle-converter.htm
spent about 6 hrs last night and this morning googling and googling some more before I found this. If anyone needs more specific instructions for this workflow, just ask.
And spent a day figuring out how to get Encore6 installed on both a mac and windows machines. I have a full adobe creative cloud subscription but no CS6 serial number but worked it out… Adobe doesn’t make it easy finding the encore installer but it’s there at least as of a week ago. and again, if anyone needs help with this, just ask
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but I think the step these answers miss is if you’ve already edited the piece, that once you’ve synched the camera original, you’ll need to export these synched clips and then “make offline” the camera original and then “relink” to the clips with the synched audio. There are other workflows for this I think, but this one seems to work for me. AND DO ONE CLIP FIRST TO MAKE SURE EVERYTHINGS WORKING PROPERLY BEFORE DOING EVERYTHING…. (the voice of experience speaking). Then everything should be fine in your edited sequence except you made need to make some tweaks to the audio levels. And pluraleyes is great. For some reason or other, I sometimes find premiere works for the synching when PE doesn’t while sometimes PE works better.
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You should really remix for the trailer, but the 5.1 tracks may be useable as sources. But couldn’t hurt to ask for the stems.
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If I understand correctly, park the playhead at the problem in your sequence and match frame which should load the source clip with the playhead at that frame which should give you the timecode you’re looking for.