Forum Replies Created

  • No, on the edit page. Just tried the Fairlight page and it’s working there. Thank you.

    If someone happens to stumple on this thread. On the Fairlightpage you can copy a clip and then switch timelines and select the track on the left, where you want to paste it.

    Anyway, I hope it get fixed for the edit page, since it should also be possible to paste your clips exactly where you need them there.

  • Niclas Werres

    June 1, 2019 at 8:07 am in reply to: Resolve doesn’t relink to Audio Files

    All Audio is transcoded to .wav. They all have a unique name. I can import them into the media page, but like I said, they are even already there. I can also work with them and use them in my timeline. They are just not relinking with some of the cuts in my timeline, which are offline.

    When I use an AAF with rendered Mono Audiofiles, everything reconnects, but then I have cryptic names in it, so I can’t really continue working with them, when I only have files with names in hexcode.

    When I’m importing into another versions of Premiere, I have no problem at all. So the AAF isn’t broken or anything.

  • Niclas Werres

    September 26, 2017 at 4:20 pm in reply to: Ensure the Red Camera Proxy in Avid Workflow

    Can’t answer you the question when only shooting DNxHD, but xy size stays correctly. We’re shooting spherical and anamorphic. The different types have different resolutions, but are correct in their own respective sizes.

  • Niclas Werres

    September 26, 2017 at 12:31 pm in reply to: Ensure the Red Camera Proxy in Avid Workflow

    Well, I’m working with the RED Proxies right now. We use the SQ format, but I can see pretty strong artifacts in many areas. Good enough to work with, though. So my guess is that the LB quality is not the one to go for.

  • Niclas Werres

    September 12, 2017 at 9:55 am in reply to: PC Premiere Pro Transcode Workflow

    Hi there,

    I can tell you from experience, that working with DNxHD is totally fine. When you ask your posthouse to deliver a file, you normally get the answer to deliver a ProRes, since you can read it on PC without Problems. But we’re working on PC so I asked many times to deliver a DNxHD instead, and never had a problem. Only one time it occured to me, that I was asked to deliver a ProRes, because ProTools was having some troubles to read in the DNxHD.

    The Downside with DNxHD is, you can’t play it so easily with normal players (AE mov DNxHD works though) so you have to load it in to view.

    On the Plusside DNxHD works very fast for editing and have all the different options like ProRes like 4:4:4, 4:2:2 etc.

    Some people suggest the GoPro format, which is a option for Proxies in PR, but I never asked a posthouse to accept it.

    Best Regards

  • Niclas Werres

    July 19, 2017 at 4:34 pm in reply to: Ensure the Red Camera Proxy in Avid Workflow

    Thank you so far. I’m glad, that this should work properly. The proxy files are easy to test, since we have some here to throw in the pipeline. Just waiting to get the Avid Media License in our company and I will update you on that.

    Since you need to trim down the clips anyway to the slate, I’m a fan in doing this in the timeline and then group the two to a new clip with SceneTakeName. (Functions in PremiereCC) Is it possible to do it this way in Avid? This timeline is rightaway my Daily Export for everyone else on set. Couldn’t find a tutorial, which is working this way.

  • Niclas Werres

    December 5, 2016 at 8:46 am in reply to: Particles move along Spline

    Thank you, this helps a lot.

    I will spend some time in the future with it. At least I’m motivated right now, to try it out and tweak the settings a little. We’ll see how this works out for me. ????

  • Niclas Werres

    December 2, 2016 at 3:03 pm in reply to: Particles move along Spline

    Thank you for the quick answer.

    Don’t like the XPresso system, though. In 3DS Max I get the results I want easier, because I don’t have to add a attribute every time for everything.

    I don’t question, that XPresso is very powerful, but I don’t have the time right now to wrap my head around it.

  • Niclas Werres

    November 10, 2016 at 11:08 am in reply to: Premiere Pro 2017

    Okay, I tested it now for some time.

    The main difference is the look of the program. Had some trouble at the beginning with setting In- and Outpoints in the Source Monitor, but reinstalling Visual Studio seemed to fix it.

    Good news, when Premiere crashes the Picture freezes and I have some seconds to save the project without problems.
    Bad news, it crashes as much as 2015.3 did.

    When exporting text to AE, it’s still a black solid. (should have been a new feature, though) The subtitle function is useless as ever. So I don’t know, why they praise it as functional.

    Couldn’t try the new team function.

    That’s it for now. Can’t see a reason to update right know. But hadn’t any problems with converting the project file to the new one. All media were still linked, so I guess I was just lucky?

  • Niclas Werres

    October 7, 2016 at 3:53 pm in reply to: Work on the same project with different computers

    Even when I couldn’t find out anything about working on different computers yet, I learned about some interesting techniques, like the Pancake timeline. Also a very good website.

    So thank you for the link. If I find out anything about my question, I let you know, so other people with the same problem can find some answers here. ?

    So far I got to know, what I’m looking for is planned for the future, but isn’t working right know. Still you can put your files on a server to work on a premiere project and link it with dynamic link to another .aep, someone else is working on. (Haven’t tried it out yet, so no guarantee)

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