Michael Hancock
Forum Replies Created
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[Herb Sevush] ” I know Avid claims it can now work with ProRes directly, but I have to know that I’m not loosing any functionality doing so.”
What you would be likely losing is some stability because, if you have Quicktime ProRes files, you’d need to work with them directly through AMA (Avid Media Access) to avoid duplicating space, and that would limit some export functionality.
However, if you’re on a Mac (which you obviously are) you can rewrap the Quicktime ProRes files to ProRes MXF files which gives you full functionality and the stability Avid is known for. It’s like rewrapping P2 footage in FCP – it double the disk space you need, but it’s super fast (basically a file copy with checksum).
If you shoot to ProRes, does your recorder also shoot to DNxHD? If so, you could transition to Avid on the next shoot. Or, since I assume you’re backing up your footage, you could transcode the ProRes files directly off the recorder/cards (what are you shooting with) and edit with the Avid ProRes MXF files and place the originals on a shelf. Think of rewrapping the ProRes to MXF as your first backup, of sorts, that you’re editing with.
I’d say it’s worth investigating.
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Michael Hancock
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Remap your keyboard or use the FCP keyboard settings with Premiere for a lot of these. To select clips in the browser and load them into your source monitor and shuffle through them quickly, read this:
Most of Premiere’s operations aren’t mapped by default, and they’re in weird places when you try to find where to map them.
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Michael Hancock
Editor -
I recommend the dongle if you don’t mind the extra cost. I think I’m going to buy one for my Symphony system – had an issue with software activation this weekend. I didn’t have anything mission critical so it didn’t end up being a big deal, but I’ve never had a dongle fail when I plugged it into the system. Worse thing I’ve had happen is to forget the dongle, which is irritating but at least it’s my fault and I’m not at the mercy of someone else.
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Michael Hancock
Editor -
Go to your timeline settings and uncheck Show Marked Waveforms. Then they’ll show up every time you turn them on.
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Michael Hancock
Editor -
This of it like an analogue patch bay. You have a source with Video and 2 Audio tracks. You only want the video, so you activate video on the source then activate video on the record side. You can also use it to your advantage – if you have some video you’re inserting and know you want audio but from a different clip you can activate the record side video and audio, then activate only the video on the source side. When you insert edit it brings the source video and lays it to the record side video, but since you didn’t activate the source side audio but did activate the record side audio it inserts a gap, of sorts (Avid calls it filler), pushing your audio down without actually putting the source side audio into the sequence.
If you’re coming from FCP it might take you a bit to wrap your head around it but it really is very powerful. I came from Avid to FCP and never did get the hand of autoselects – seemed like everything was always on and I had to turn off or lock the tracks I didn’t want to use, which was always more than the ones I wanted to use. Lots of extra clicking for me.
[John Davidson] “Also, is there a way to automate it to where when you click the name it auto selects the track as well?”
This is auto patching and it’s available in Avid. It’s not available in Premiere, but I’ve filed feature requests for it. I recommend you also file the request – it’s desperately needed.
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Michael Hancock
Editor -
What errors are you guys getting when you export OMFs from Premiere? And this is in 5.5, right?
I export OMF from Premiere all the time to our sound guy and we’ve never had a problem. Wonder what the difference is between my system and yours.
To compare:
I’m running a 2008 Mac Pro, Lion 10.7.3, CS5.5 fully updated.
My OMF export settings:
OMF set to 48000, 16 bits per sample, Files:Encapsulate, Render: Copy Complete Audio Files. Imports into ProTools 10 just fine and I think it imported into the previous version too (audio guy is offsite but I know he just updated to 10, not sure what he was running prior).—————-
Michael Hancock
Editor -
[Jeremy Garchow] ” Whatever NLE does this the best will factor heavily in to our decision.
“I’m curious, then – are you considering Avid? It sounds like you’re considering Premiere and FCPX, but haven’t looked at Avid. Is there a reason?
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Michael Hancock
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I’ve cut Red footage natively and it’s not a lot of fun, depending on your system.
What resolution do you have your playback set to? I set mine to the lowest possible – typically 1/4, which helps. But I’m also on an older Mac Pro without an nVidia card, so I don’t have the benefit of the Mercury Playback Engine.
We have one system with an nVidia Quadro 4000 and it handles the footage better, but I still recommend you use Redcine-X or Media Encoder to transcode the Red footage to ProRes or DNxHD Quicktimes, cut your piece, then see if you can relink back to the R3D files if you need access to the full 4K resolution.
Red footage is fun to grade and the ability to reframe and push in on 4K footage is great, but it’s really not designed for native editing.
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Michael Hancock
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You need to install the Red Importer from Adobe Labs. Download it here and follow the directions it give you. It’s the only way to read raw Red files in 5.5 from Scarlet or Epic.
https://labs.adobe.com/technologies/redepic_importer/
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Michael Hancock
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Rewind goes to the previous common edit on all selected tracks. If you have a track selected that runs the entire length of your timeline, or is blank, it will go to the beginning of the sequence, or if you have a handful of tracks selected and there is no common edit point it will probably just go to the beginning of the timeline.
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Michael Hancock
Editor