[Petros Kolyvas]

And if you’re looking for something to do while on the phone and/or before you call you can try the old:

– Uninstall BMD Drivers
– Trash Premiere’s Preferences and Settings
– Optional (Do some OSX maintenance using Onyx to clear caches, repair permissions and such)
– Reinstall BMD Drivers

Hope it works out!

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

In FCP, the output of the timeline to hardware devices was independent of the timeline format to some degree, in Premiere theres a slightly less flexible relationship between timeline and video monitoring hardware – though, as you noted, this issue doesn’t apply to the audio outs which makes matters a bit confusing. Not an ideal design choice, but that’s how it is.

You’ll need to create a sequence using a Blackmagic Design Player preset (I’m not sure that’s what it’s called, but for Matrox it’s the Matrox Player and for AJA the AJA player.)

If you edited the sequence in a BMD sequence setup then you would usually (Matrox and AJA) use the configuration software to route the video to the appropriate hardware output(s). I take it you’re not using the decklink card for monitoring during edit, because if you were you’d simply playout that same way.

If you didn’t cut the sequence(s) in a BMD Player sequence, you’ll need to create one in the output format you’d like, and then copy and paste your edit into, or nest the edit and place a nested sequence in a BMD player sequence. Create a new Sequence and you should see some BMD options in the list.

One thing to pay attention to is the viewer/program monitor resolution; make sure the resolution is “full” before play out.

[Petros Kolyvas]

Hi there,

GarageBand may be the key.

It sounds, to me, like your system audio clock is playing back your audio at 44.1kHz.

Often GB and Logic Pro project defaults a 44.1 and the system may have changed the Core Audio samplerate. Do you use an external or 3rd party audio interface?

A simple option would be to reboot and then re-open your video project. Usually Core Audio will set its sample rate based on the application’s demands, but it is occasionally mistaken.

Let us know how it goes.

PK

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

I just wanted to follow up on this post for anyone interested…

We revisited Clipwrap and discovered two things:

a) The folks at Divergent are fantastic and stand behind a great product.

b) Premiere suffers from massive performance issues (as a result of what can only be handing off the media for playback via Quicktime) when MTS clips from our AF100 are wrapped in an MOV container (not a problem with Clipwrap but rather the workflow.) This same issue plagues clips wrapped using Panasonic’s own AVCCAM importer into FCP(Pre-X) so I wouldn’t blame Clipwrap here.

Panasonic definitely made some poor descisions with the AVCCAM structure and file format – something a continuous counter alone would fix!

Even more odd is that I heard directly from Divergent Media that the MTS files themselves do actually contain the camera’s timecode so technically there should be a way to rename the files without loosing the data – but there doesn’t seem to be at this juncture. Future Clipwrap feature?

Onward video soldiers….

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

Hi there,

Are you on Mac or PC?

If Mac, all my VST pugins are in /Library/Audio/Plug-Ins/VST/

I have 64-bit plugins from multiple 3rd Parties and while they’re all paid plugins they do all show up in Premiere.

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

Hi Andy,

I’d be interested in this answer as well.

With FCP/Motion there is the option of “OpticalFlow” (a feature ripped from the hands of Shake) – I imagine it’s similar to what you’re used to with Avid. I still send clips to Motion for that treatment if required because I haven’t found a suitable alternative workflow in PrPro/AE that doesn’t include Twixtor.

But I’m still relatively new when it comes to Adobe’s video production apps.

PK

[Petros Kolyvas]

Hi there,

I have had only success getting OMF out of PrPro 5.5.x into ProTools (v9), but I have read here that using Audition to get OMF exported for 3rd party mixing/re-recording workflows is an alternative that has been better for some.

A few questions: what settings are you using for your OMF export?

Are you exporting OMF from PrPro directly (or perhaps you’re already doing it with Audition)?

I don’t know if any of this helps but hopefully it’s a start.

All the best,
PK

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

Premiere Pro truly is a native 64-bit application, so if the BBE plugins you’re using are 32-bit they won’t show up.

It does look like there are 64-bit versions available: https://www.nomadfactory.com/downloads/

I’m a longtime Sonnox user and didn’t understand why they weren’t showing up in Premiere until someone (here possibly!) made the same issue clear to me.

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

Wow! Thanks for the heads up Tom.

Happy New Year to you too!

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

I tested out Clipwrap and I’d have to agree with you. It makes self-contained files, works with spanning and maintains time-code, all in a re-namable MOV-contained file setup.

We’ve had a license for a seat of Clipwrap for over a year and I haven’t thought to try it out for this purpose.

I tested the clips in Premiere and they seem to behave just as well.

Thank you!

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger