Mike Molenda
Forum Replies Created
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Try saving, then restarting Premiere and/or your system.
Out of curiosity, what kind of footage and disk are you using?
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I don’t think I was clear. I’ve actually been able to successfully round trip Premiere to Resolve with EDL. And I’ve done FCP7 XML to Resolve successfully, too. Thanks for the offer to help, though!
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I’ve been able to successfully roundtrip to Resolve via EDL. I think a big hangup is that you need Reel identifiers and unique clip names, which is a problem for a lot of card-based media.
I think I was able to get it to work by modifying the Tape Name in the Premiere metadata. The integration between Premiere and SpeedGrade is obviously a lot tighter, but a Premiere/Resolve roundtrip can be done.
I’ve also had some luck roundtripping from Premiere to Color using XML and FCP as an intermediary.
Paul’s process above might be a pain for some, but reads to me like pretty standard operating procedure. It’s a good habit to remove as many variables as possible so you don’t end up with any unpleasant surprises later.
Temporarily remove effects and transitions, and break longer cuts into 20-minute “reels” before grading. Also to take the little bit of extra time to enter metadata when you’re ingesting your clips. A little extra work on the front end usually saves a lot of headaches down the pipeline.
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I probably started dabbling in CS5 about a year ago. Coming from FCP 7, the first time I used it, I noticed a definite uptick in speed, smoothness, and stability. That was enough to get me hooked. This was at a point I’d come to expect an “out of memory” or “general” error to force a restart, or an outright crash, of FCP 7 at least once per edit session.
Over the course of the year, I started using it more frequently in place of FCP at my day job, where we have both FCP 7 and CS5 installed. I ventured more into native workflows and dynamic linking, and grew to prefer cutting on Premiere to FCP. At this point I was running Media Composer 6 trials as well, looking for either an interim or temporary solution while waiting for FCP X to mature into something that seemed like it would fit my needs.
Eventually I bought a copy of CS5.5 for freelance work on my home machine. It became my primary NLE, and now I rarely launch FCP except to use it to roundtrip an XML sequence from Premiere through Color.
Now I’m comfortably into using CS6. I’ve got two freelance projects cooking in it at the moment, one RED-shot short film, and one 5D-shot multicam promo piece for an event band. I’m really digging a lot of the new enhancements. R3D and H.264 QT performance is exceptionally smooth, especially on a machine that is old as dirt. I’m using CS5 as my primary NLE at work, cutting AVCHD-and-XDCAM-shot educational videos. Occasionally going back to FCP 7 to ingest HDV tape.
Is Premiere perfect? Certainly not. There are enough annoying bugs and quirks that I hardly miss the annoying bugs and quirks in FCP at all. I’ve had a few errors, a few crashes, but no outright showstoppers so far. Overall I enjoy using the software, and it definitely gets the job done for me.
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Definitely will do. It would be very nice to see you guys make improvements to bin and clip management of the caliber of the timeline improvements in CS6.
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[Ryan Patch] “The limitations of XML output with merged clips mean that if you were to edit a feature film with dual system sound that you wanted to color on ANY platform other than Speedgrade… you are up a creek.”
You could still output EDL, and bring that into the color finishing application of your choice. Or, in theory into Final Cut or Avid where you could make an XML or AAF of it.
My gripe here is simply that merged clips do not behave like regular master clips, and there’s no good reason for them not to.
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I’ve had this problem before, but it usually comes after a couple hours of work. It happens to me so infrequently that it never disrupts my work too much, and I can’t reproduce it for the life of me.
It happened for me in CS5 and 5.5, has yet to happen in CS6.
Not using any I/O devices myself, so that’s not likely the problem. Especially if you’re experiencing it with both BMD and Matrox devices.
I’ve noticed this happening less often now that I’m getting more comfortable with native workflows, so maybe it is a ProRes thing?
For me it never disrupted any of the menu functions (just the timeline), so I’d save, quit, and relaunch. I thought it might be a problem with the cheap Firewire disks I was using at the time, so when it happened I’d remount the disk to be safe. Who knows if that actually did anything, though.
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I frequently work between two machines, one running CS5 and one running CS5.5. They are cross-compatible: I can open a CS5.5 project in CS5 and vice-versa. A dialog will pop up noting that the project was created in a different version, and asking you to save a copy under a new filename.
I’d be surprised if 5.5.2 to 5.5.0 didn’t work similarly, if it even makes a fuss about it at all.
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Bear in mind that a lot of stand-alone CC applications, especially on the high end, are designed to be used with a control surface that has a dedicated button or knob for every little thing. This is something you can’t replicate with just a mouse and keyboard.
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I should clarify. Send to SpeedGrade does work, and is pretty foolproof. However, the way it works is not ideal for every project.
It renders your sequence out to DPX first, and sends that to SpeedGrade. So there’s some waiting, and arguably a significant amount of disk space needlessly eaten up. Final Cut Send to Color outputs an XML, and then relinks your original footage in Color automagically. Using your original footage is the key here. Which is what using an EDL does and Dynamic Link would do.
And the EDL workflow in SG is pretty smooth after you get used to it. If your clips are not all in the same directory, the reel loading process will take you some time, but it’s not too bad.
But getting your graded sequence from SpeedGrade back into Premiere is no picnic. Again, this was something FCP/Color handled for you. The only solutions I’ve been able to figure out so far:
A) Render, Reconstruct a timeline with your graded media in SG, Export EDL. But this is dependent on rendering with the “position in sequence” TC option, or adding the clip number to the head of the clip filenames. Rendering your clips with handles is out of the question here, too.
B) Render, Reconstruct your sequence in Premiere. Again dependent on sequence TC and/or clip order naming.
C) Render, Duplicate Premiere project, Relink to graded online media. This one is dependent on using the “source” TC option, and maintaining the original clip filenames. Seems like it could easily fall apart with duplicate timecodes, say from a DSLR, or if the clips lack unique filenames, like footage from Panasonic AVCHD cameras.
I am also stuck on the export options themselves. I’m using a 2 minute, 58 second long test sequence. Every clip is coming out as 2:58 long (the exact length of the sequence), where it will hold on the first frame of the clip until it gets to that clip’s position in the timeline, then it will play through the clip, then it will hold on the last frame of the clip for the remainder of the 2:58.
I think I was able to solve this on the demo version, and get my renders to export at the proper clip length. Can’t seem to remember the setting or whatever I used now that I’ve installed the full version.
Also can’t figure out for the life of me how to add handles to the graded clips. That option is grayed out by default.
If anyone’s curious, I’ve been making my way through the manual here on Adobe’s site:
https://helpx.adobe.com/speedgrade/topics.html
But it is still kind of incomplete, and missing a lot of specifics.I posted about SpeedGrade in another thread, and was also pointed to the old IRIDAS manual by the Adobe SG Engineering Manager / Founder of IRIDAS. Because this is Adobe, and if you have a technical problem, the friggin’ project lead will track you down and answer you personally. 🙂 You can find it here:
https://doc.iridas.com/index.php/Category:SpeedGrade