[Richard Herd]

Where are you going to store your media?
How long are you going to store that media?
Who will manage your storage?

Since you are not a “computer guy,” I assume you are also not a “networking guy.” The best value you can put into a modern, bright and shiny editing suite is a proper storage backbone type of network. The amount you spend will depend on what your client deliverable is and what kind of media and throughput will be required.

This is an interesting thread to read: https://forums.creativecow.net/readpost/17/880322

[Richard Herd]

I was on vacation. Sorry for the delay. Here is my file https://www.dropbox.com/s/jfv1tj9uqoknfhb/Red%20Bull%20TV%20Mobile%20App_%28720-RMH%29_1.mp4?dl=0

and here are my results.

I hypothesize the analyzers are not standardized. (I am on a Mac and encoded to NTSC)

***** Analyzed File Results *****

*** General Parameters ***
– Name: Red Bull TV Mobile App_(720-RMH)_1.mp4
– Container: MP4 – QuickTime
– Size: 24.22 MB
– Duration: 53s 971ms
– Bitrate: 3 596 Kbps

*** Video Track Parameters ***
– Format: H.264/MPEG-4 AVC
– Bitrate: Max.: 5 000 Kbps / Average: 3 275 Kbps / Min.: —
– Frame rate (fps): Max.: — / Average: 23.976 / Min.: —
– Encoding profile: High@L3.1
– Image size: 1280*720
– Pixel Aspect Ratio: Undefined
– Display Aspect Ratio: 16:9
– Interlacing: Progressive

*** First Audio Track Parameters ***
– Format: AAC – MPEG-4 audio
– Bitrate: 318 Kbps
– Resolution: Undefined
– Rate: 44.1 KHz
– Channel(s): 2 (stereo)
– Position: Front: L R

*** Miscellaneous ***
– Subtitle(s): No Subtitle
– Album: Undefined
– Performer: Undefined
– Genre: Undefined
– Encoded date: UTC 2014-10-15 16:07:07
– Album artist: Undefined

[Richard Herd]

Ask Walter Soyka in the main forum. https://forums.creativecow.net/adobepremierepro

[Richard Herd]

Premiere is not like FCP7. In FCP7, we had to transcode all the footage into a “normal” codec to avoid rendering in the timeline. Those days are gone. But it is still useful to name clips. There are a couple of ways to to that.

The thing to understand is there are a lot of metadata floating around, from the camera, from the media, from the various software packages (PP, AE, Audition, etc.). The computer is really good at keeping track of that stuff. It is called XMP data, in Adobe’s world.

That’s why it is always said in here “to import footage using the Media Browser” inside PP (and not by either importing or dragging and dropping). This is a noticeable change from FCP7. Media Browser creates an AVCHD package content file using metadata “stuff.” Once the media are in PP, the names can be changed. They even have a window setting for Metalogging, where you can add and view information about your clips.

The other workflow is to start with Prelude. When you use Prelude, it is more akin to the “Log and Transfer” interface we had back in FCP7. 9 out 10 times I use Media Browser. For projects with lots of footage and I know I only want some of it, then I use Prelude to cull through it all.

This just barely scratches surface of what’s available. But step 1 is the Media Browser.

[Richard Herd]

[reko tomo] “to get the best HD quality is use the original files (MTS)”

Import the media files using the Media Browser. Right Click a piece of media from the project window in premiere and choose “Make a sequence from the clip.” Then that will launch a sequence. Rename the sequence to something you can remember. Cut the video. When you export the video, you’ll need two exports: one for HD, one for SD. There are presets available in the menus.

For the SD video, you do not need to export. You can use Dynamic Link to Encore.

[Richard Herd]

[Aaron Shaelling] “on older computers and laptops”

It’s a bummer. You may be experiencing the problem of pixel pitch and there’s nothing you can do.

(I know people who still watch SD tv.)

The amazing thing to consider is how device and browser agnostic vimeo, youtube, etc have to be.

[Richard Herd]

[Walter Soyka] “fact-based discussions”

It is a fact: some folks are justified in their considerations of behaving like a luddite dinosaur while others are not justified.

This is context by way of CS6 > CC > CC2014 (wrong forum I know). And I’m particularly aiming at the accounting department who cannot fathom a world where software is a rental expense. These luddite dinosaurs believe Software can only be a capital expense.

Women and men of the accounting departments of the world, please, please. Search your souls. This editor needs to send multiple sequences to AME.

[Richard Herd]

Thank you!

[Richard Herd]

[Walter Soyka] “when you cache your Ae comps”

How do you cache the comps?

Here’s what I have been doing: mak an AE comp which may have many precomps, and then making a FINAL Comp and then a DL Comp. The DL comp is then render-replaced in AE and that is linked to Premiere. This matters when for example the AE DL Comp is a top-level track containing lower thirds or just the mograph text stuff, and video is underneath (like a title sequence). Once the names are all spelled right, there is no reason to re-render them while doing tweaks to picture. This save some time.

PP CS6 does not have render and replace in PP.

Thanks!
Richard

[Richard Herd]

[Dennis Radeke] “Premiere Pro gets an “A”.”

A for Adobe!

And also Dynamic Link: Audition, After Effects, Photoshop, Illustrator, Speed Grade, and Media Encoder are simply an amazing suite. Just screened a 5 minute video for a non-profit addiction recovery facility, and the client and agency sat in for the screening, and they were so moved by the emotion, they had tears. Thank you Adobe for the great tools! I cut straight to the story and emotion and do not worry about technogunk because your stuff works very well.