Richard Herd
Forum Replies Created
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Did it work?
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So you are delivering a Blu Ray? Is that a film festival deliverable? Last time I delivered to film festival, it all went through withoutabox.com and the film festival people wanted an SD DVD. That’s what we sent them, but it seemed weird. That was 2 years ago, so hopefully things have changed, there.
It appears exporting your sequence APR is a good idea. But also export audio OMF, so you can at least get your audio mix as granular as possible, because once that’s in a Premiere sequence, you can edit in Audition, and that really is a very lovely program. Be sure to watch this video:
https://tv.adobe.com/watch/short-and-suite/sidechaining-in-audition-cs6/
It takes a bit of practice but very much worth the learning curve once you have it down.
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[Craig Johnson] “I appreciate your time and expertise.”
You’re welcome. It’s what the Creative Cow does. I’m asking question on Premiere forum because I broke my Media Browser 🙁 Doesn’t seem to be a fix.
[Craig Johnson] “What if I sacrificed quality and dumped a quicktime self contained movie into media encoder. Do I still need APR22 installed per the video you supplied in your post to make the encoder and Encore work? This way I can stay on schedule and still make menus.”
I guess I’m not understanding exactly what you’re doing, what your deliverable is, because at some point you will have to export something. Walter Murch has a particular workflow style that might suit your needs. He exports a self contained version of his edit (APR 422 is perfect), and then imports that back into the project and puts it literally on top of the rest of the video and audio. THen turns off all the tracks except that top level one. IF there are changes, then he can splice open the “exported version on top,” like a skein, and get into the surgery of his edit. It’s brilliant. I suggest that to you.
Why are you leaving FCP7 and Motion? It sounds like you are enmeshed in there. DVD Studio Pro is an excellent authoring program, and Compressor is an excellent compressor.
Maybe the next project, you can use PP. Just yesterday, after I broke my Media Browser, I used FCP7 to organize my footage, and then I XMLd into PP CS6. FCP7 is still a great piece of software. It worked fine.
The reason I like the PP pipeline is because it aggregates all the various stuff (psd, ai, audition, and of course AE). That makes PP more of a hub than an editing platform — if that makes sense. The particular commercial campaign I’m making right now (or will be making after I finish this post) is MoGraph heavy, so AE is my work horse. Also, the audio was a difficult thing to master, and audition is pretty good, better than pretty good.
When I just cut, like a film, short, or doc, then I use FCPX.
When I have to aggregate a bunch of assets, then I use PP. -
For me, personally, I’d rent it if it was hourly, too. Yearly, monthly…doesn’t matter to the accounting department. They have to form a committee and re-designate the expenses from capital expense and its normal depreciation to monthly recurring. I guess that means changing the General Ledger and so on. Maybe next year, and hopefully, they’re all watching the stock price of Adobe ’cause it’s soaring — and that’s the language the accounting dept speaks.
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Personally, I’d have moved to CC two months ago, but the change of accounting practices from capital expense to monthly expense does not sit well with the accounting department. 🙁
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[Paul Neumann] “Have you tried resetting the layout?”
Thank you!
[Paul Neumann] “so, in Preferences/General make sure you’re set to Native Mode. Maybe toggle between it and Library Mode and see if it comes back. “
I don’t see the option. Maybe my glasses are dirty.
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The chain icon was engaged, now they are no longer linked! So all is good, happy editor.
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Yay! Turned off the link/chain button.
Now I’m cruising.
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[David Mathis] “Premiere Pro as it seems a better tool than FCP X at the moment”
Funny, I was just thinking the opposite. Bunches of footage to go through, and the metadata tagging in PP CS6, just isn’t as good as X’s range select and keywords.
For example (and I posted in the PP forum for help) the same clip has many shots of the different brands, but the retailer’s deal with his wholesaler means he needs some commercials with just BrandA. So I am trying to use PP CS6 to create metadata fields, but I can’t get it to work the way I need. Set the ins and outs and label the metadata, in a column called Brand. When I change the name to Brand A, then ALL of the clips change with it.
It’s a real bummer actually.
I’m about an inch from going to 7 for it’s fields and then XML over to CS6.
Getting coffee. Taking a walk.
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Bummer.
Another frustration.
I have clip that has 5 different projects in it; it’s a dolly shot in a show room. The agreement between the retailer and the wholesaler means he needs to have BRAND1 separated from BRAND2 and so on. So I made metadata fields and set in and outs for the particular brands. HOwever! the metadata field populates every clip at once, although I have tried two ways, just clips, and subclips.
Do I need to do this in Prelude? (I guess that’s what I’ll try now.)
