Oliver Peters
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FYI – this new version WILL take a bit of getting used to. Remember to uninstall your old version first and create NEW user settings when you start this one. You should NOT just dive in thinking everything is where it used to be.
Here’s a good introduction:
https://www.provideocoalition.com/mc2019/Remember that this is the start of an ongoing updating process. It’s not the end-all/be-all version. Over the course of upcoming version updates, various modules will be touched with more tweaks and revisions. At least, that’s Avid’s stated plan.
– Oliver
Oliver Peters – oliverpeters.com
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Thanks guys.
Eric – as far as the trash can – I run one at work and generally like it. But because it’s full suite, I have a ton of stuff hanging off the back, which tends to be a mess. OTOH, my son runs one as a Logic Pro X station and his install is very clean and simple. Just a display, storage, and an Apogee audio i/o. So it just depends on your situation. The only technical issues I have are occasional render glitches with Adobe apps and Resolve. That’s because of some flaw (probably thermal) with the dual D-series GPU chips. I run a small utility that cranks up the Mac’s fan speed to max all the time. But render times are faster on our iMac Pros.
Ronny – I would imagine the two 10GigE ports should be a major plus with your shared storage clients. Sure wish I had that here instead of the SanDisc and Sonnet boxes.
– Oliver
Oliver Peters – oliverpeters.com
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BTW – it’s here today.
https://www.avid.com/media-composer-movie-editing-software-for-makers
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “I’m betting that’s possible when all cameras (including our phones) get upgraded from 8K to perhaps 4800K”
Unfortunately in actual practice quite a few 4K (and above) images look substandard when viewed at 1:1 pixels. So there are a lot of “smoke & mirrors” being used with much of this higher-resolution market-speak.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “Some wretched writer pened the line: “Enhance, enhance, enhance…” a decade ag”
Huh? Been hitting the merlot again? ☺
– Oliver
Oliver Peters – oliverpeters.com
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[Eric Santiago] “With Premiere and FCPX pricing and 4 to 1 project ratio, Its been getting harder to convince corp on the yearly fee.”
The real wild card is Resolve. At least for the individual and small/medium business customer. But the whole point of Avid’s refresh is to appeal to new users as much as the established one. And to deal with new and more demanding delivery requirements.
In your case, corporately, an Avid subscription could make more sense. Go month-by-month and turn on/off as needed.
– Oliver
Oliver Peters – oliverpeters.com
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[mark thompson] “I didn’t know it could do that.”
You are welcome. Just right click the sequence in the project window and select “Edit in Adobe Audition > Sequence” to get you there. I would make a copy of that sequence first, though.
– Oliver
Oliver Peters – oliverpeters.com
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[Nina Lucia] “The film was shot anamorphic, with the frame meant to be 2578×2160. Making a sequence with that setting fits the framing chart the DP shot perfectly, so I think I’ll go with that”
Just remember that if you are sending Resolve (or other) for finishing, that sizing is going to be completely irrelevant. It’s a non-standard delivery size, which means that the finishing editor/colorist will likely have to resize everything anyway. Make sure you export a reference movie with everything showing as intended, so they can match it up.
– Oliver
Oliver Peters – oliverpeters.com
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[Nina Lucia] “If I need to get the original camera files for these problem clips, I need to know what steps to take to get the clips connected or pointing to the original camera files rather than the proxies that were made. It seems that maybe the previous editor/asst deleted the camera clips after making the proxies then imported the proxies.”
Hmm… You should never import proxies. One way to handle this would be to remove the proxy media. Then when you launch, those files will be missing and Premiere will ask to locate the media. Point Premiere to the camera originals. There may be a naming issue, which means you’ll have to do this one file at a time (don’t use match name in that case).
– Oliver
Oliver Peters – oliverpeters.com
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[Nina Lucia] “The original project was CC 2019, I made it so I could open it in 2018.”
What does that mean? Premiere projects generally cannot be back-revved into older app versions.
All of your frame sizes are very, very wacky. It sounds like the DP shot with an anamorphic lens, which means the frame is supposed to be stretched horizontally by a 2x (maybe) factor. Depends on the lens and camera. If the initial editor created the first sequence by simply creating a new timeline based on the first camera clip – as opposed to using a standard preset (HD, UHD, true 2K, true 4K) – then they’ve create a world of trouble from the get-go.
It does sound like you have lost links to the Proxy files and/or camera files. However, it sounds like an Adobe proxy workflow was followed. This means that the application generates proxies and automatically (usually) attaches the proxy media to your clips. Therefore, the media clip inside Premiere is “forked” and you can toggle between camera original and proxy media in a largely transparent fashion. But, if you start moving things around, especially if you do something funky with the project file itself, then this media linking gets very confused. Your descriptions seem to imply that is exactly what has happened and that now the sequence links to proxy files as if they were original media (although I could be misinterpreting your description).
Premiere handles resizing in 4 ways.
Method 1) No automatic scaling. A 3840×2160 clip in a 1920×1080 timeline would appear zoomed in by 2x at a value of 100%.
Method 2) Scale to frame size. Media clips are automatically resized to fit the timeline matching either width or height. The image is resampled so that the new downscaled size is seen as 100%. So if it were a UHD clip, then it would now be interpreted as HD. If you blow it up then, you are actually blowing up the resampled image.
Method 3) Set to frame size. This is similar to 3, except that the image is not resampled. Your UHD clip fits into the HD timeline, but the size is read as 50%. So if you blow up the image, you are still only scaling it back up within its full resolution until you are back to 100%.
Method 4) This is for anamorphic projects and depends on camera metadata. I’ve worked with Alexa anamorphic clips. Premiere reads the clip’s pixel aspect ratio as 2:1. When I cut that into a standard HD timeline (1:1 pixel aspect ratio), Premiere automatically applies the horizontal stretch to make the image appear correct.
The “offline” media issue is because the project wants to see both the proxy and the original files, because of the “fork” I mentioned above. If either is not present, then the files will be offline. This isn’t wrong, but you need to be aware of it. If you tell Premiere to “offline all” for the missing files when you launch, then it will not look for these files in the future. It may require manual relinking later when you do need access to these.
How are you handling the online? What type of system? Do not expect this to go automatic without some manual correction. A lot will depend on your camera type and how diligent the crew was with properly file names, transcoding odd frame rates, etc. I typically export a reference file of the final sequence for the online editor to use in making sure sizing, speeds, etc all match.
Unfortunately you have a bit of a problem on your hands that will need to be fixed somewhat manually. I would suggest starting by putting all of the camera media properly back onto your drives and make sure everything relinks to the master files. You might not need the proxies. Then see how you go from there to correct the sizing issues where they occur. I hope that helps.
– Oliver
Oliver Peters – oliverpeters.com