[Paul Dougherty]

Hi Jorn,

Thanks, your explanation makes sense. Re. “always deinterlace” I just want to confirm that this is something you can only do in the Timeline on a individual clip basis?

I’m hoping it would be so much easier to apply en masse *or* netter still set for the source footage.

But if it’s clip-by-clip I’ll do it and write up a feature request.

Best,

Paul

p.s. Knowing how easy this was to do in FCP7 makes the idea of bulk converting the footage beforehand pretty unappetizing

[Paul Dougherty]

Thanks Angelo,

I will not be in front of the system for a few days to act on your advise but I appreciate it

Best,

Paul

[Paul Dougherty]

I stumbled on a solution for the snag. I took one of the source mp4’s and made a new seq by dragging it to the New Item icon (starting a new sew that matched source) played that and…. eureka! the audio played and from there on in everything did.

Paul

[Paul Dougherty]

The source mp4’s that are not cooperating are compressed AAC 48k

comparing a Premiere proj that is playing correctly vs my problem one…

NG Source Audio Format: 48000 Hz – compressed – Stereo
OK Source Audio Format: 44100 Hz – 16 bit – Stereo

[Paul Dougherty]

My Bad – I mixed ip the column header for motion blur with the Master on/off switch above it

Thanks

[Paul Dougherty]

Actually they are ones I improvised using the Animate parameters in Text (so I should have not called it a preset). I’m doing a slide on that involves Animate position keyframes as opposed to layer position keyframes.

Thanks,

Paul

[Paul Dougherty]

Thanks, that would work bit how? I know how to reveal in project but how does one reveal location of the sub-clip (parent) in the Finder?

[Paul Dougherty]

Thanks Alex,

That almost works. My needs here are probably unusual in that I’m working with viz-code clips without actual timecode. I want to be able to make sub-clips that I can trace back to master-clip (names) and know where they came from. The technique you suggest gets me back to the footage but if I’m trying to do an inventory of what master clips I’ve used, having the file name would really help and I don’t have that.

No fault of yours but this is so easy to do in Avid & FCP, it’s the first real complaint I’ve had with Premiere.

Best,

Paul

[Paul Dougherty]

Thanks Sam & Paul. Again I know little about what will be provided but doubt camera-original will be in the mix, probably just low & (later) hi-rez excerpts from shows. Drilling down a little more, let’s assume the TC does match, I could force a relink if I renamed the folder that has the off-line footage but.. what would be the elegant targeted way to make one sequence (probably a copy of the approved off-line cut) re-link to the full rez files *without* having to take all the lo-rez footage off-line? It would be ideal to have it there to reference

Paul

[Paul Dougherty]

Thanks Craig,

Since I don;t want to upgrade to the latest OS (req by the Compressor that is for sale) …my workaround was to bring the Qt into Premier CC which defaults to export h.264/mp4, I then set it to medium data rate but otherwise match the orig Qt.

Paul