Michael Hancock
Forum Replies Created
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I talked with an editor that was testing this:
https://premierebro.com/premiere-in-post/xtrmx-edix-remote-editing-panel-for-adobe-premiere-pro
He had great things to say about it, but it looks like their website is down. Might be worth trying to contact them and look into it. I believe it does exactly what you want – you edit and the director/producer can review what you’re doing remotely, and are able to see your timeline and watch the edit in realtime.
Also, it may be Premiere only.
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Michael Hancock
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LOL
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Michael Hancock
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Isn’t everyone at the Creative Summit under NDA? If so, how long will it be until that NDA is lifted or Apple shares the surprise with the rest of the world?
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Michael Hancock
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I believe Tony is saying that if you watch it on Frame.io you won’t hear all 6 channels, or at least not discretely. It will be a stereo mix, or it just completely dumps some of the channels.
Is that correct Tony?
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Michael Hancock
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In Resolve, open the Media Tab. In the upper left, navigate to your clips. Click through them and only import the ones you want.
I don’t know if you can import portions of a clip. I do not think you can. But you definitely can preview them before you import them. You just have to do it in the Media tab.
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Michael Hancock
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[Greg Ball] ” So if I have 6 minutes of regular interview footage and 3 minutes of 4K Broll footage, do I just edit the entire project as a proxy video project?”
That’s probably what I would do. FCPX’s proxy workflow is pretty easy and relatively fast.
[Greg Ball] ” If so, can I just highlight all of the clips in the project and transcode them to proxy without having to do that in the browser?”
I’m not sure if you can create proxy clips in the project, but if you create proxies in the browser they will be linked to your project, so it won’t matter that you’ve already started editing.
[Greg Ball] “Michael, won’t optimizing the clips slow down playback?”
It depends on your hard drives, likely. Optimizing the drone footage will transcode it from it’s original codec (likely h264, which is why it’s about impossible to play back) to ProRes. ProRes should playback much, much better than the original drone footage.
I’ve worked with a ton of drone footage and I always optimize it or make proxies. It’s not worth the hassle trying to edit with the original footage.
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Michael Hancock
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[Greg Ball] “How can I work with both types of footage in one timeline?
“You can’t. This is an unfortunate oversight on Apple’s part, IMO.
You could optimize the 4K footage instead of making proxy files. They would be a lot larger, but should play back pretty well and would get around the issue of not being able to mix proxy with non-proxy.
[Greg Ball] “Also how can I transcode all of the 4K clips at one time to Proxy files?”
Select all the 4K clips, right click, choose Transcode, tick the Proxy box and hit Ok (I’m going of memory here, but that’s basically it). If you choose to optimize the media instead of making proxy files, it’s the same process.
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Michael Hancock
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Hope it helps! Let me know if it does.
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Michael Hancock
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I’ll try to explain it from memory – I’m actually on Premiere Pro now and haven’t worked in FCPX in a few months, so I don’t have an ability to actually open the software to make sure I’m giving you 100% accurate step-by-step info.
I’m assuming the wide and tight cameras are all one clip – that is, the cameras started rolling at the beginning of the presentation and shut off at the end.
If they are, scrub into them a bit and look for a decent sync point between them and set a marker on that point for each camera. This is what I’m calling a manual sync. Then select the wide and tight and make a multicam clip and choose to sync by the marker. This should very quickly create a multicam clip that you can scrub through to check sync. If it’s off by just a bit, right click the multicam and choose to open in angle editor (or something like that) and nudge one of the cameras left/right as necessary to get them in sync.
I recommend doing this because it should be faster than having FCPX analyse all 90 minutes of audio and sync it for you after 4 hours, assuming the wide and tight shots are one clip each.
Once you have the wide and tight synced, open the multicam clip and do this: https://www.youtube.com/watch?v=RQy1s4-Nyy0
Basically, add an angle, drop in your powerpoint footage, and sync it to the the wide or tight. You can sync it by audio here, if the powerpoint slides are a bunch of clips. If the Atomos recording is one long clip you could manually sync it to, which might be even faster.
I’d say it’s worth a shot trying it just to see if it’s faster, although it does mean more manual work for you.
Also, you asked if there was any issue with renaming clips in the browser. Short answer, no. It’s just metadata. But I prefer to add custom names in the Comment column or Scene/Take so that I always have the original clip name to reference, in case I need it.
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Michael Hancock
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I have no idea if it’s normal. I’ve never done a multicam with clips that long. If you have a few cameras that are each the full 90 minutes, you might manually sync those first since that would probably be faster. Then open the multicam and add all the powerpoint files with audio and let it do the audio sync for those. That way it’s not processing and analysing the audio for so many super long clips.
Maybe Jeremy Garchow will chime in – he’s a smart dude who knows the software really well, and I think he’s done a fair bit of multicam. He might be able to shed some light on it.
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Michael Hancock
Editor