Robert Brown
Forum Replies Created
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I’ve been doing this on a regular basis lately. First thing I’d try is export an XML from Ppro and see if it works. It might! If it doesn’t do the flattened QT.
For dissolves what I find works the best is to ignore dissolves in the scene cut detect step – it often detects a cut on every frame of a dissolve! If you don’t know there is a window on the right where you double check the scene cut detector. When you find it’s added a cut on your dissolve just hit the minus button on the lower left of the window and clear all of those out.
Then after all the cuts are good. Go into the edit menu and find your dissolves and add a cut to the middle of the dissolve with the blade tool or cmnd-b and then add a cross dissolve that matches the dissolve duration in your piece, then your grade will fade from shot to shot.
The reason I do it this way is that when you use the edit detector, it creates clips that have no handles even though there really is more media there. So you wouldn’t be able to fade your grade from one shot to the next. If you add the dissolves in the edit room it still has access to all of the frames.
The dynamic keyframes work but using my technique you can have completely different node structures on the from and to shots of the dissolve.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Usually means there is some piece of media in your timeline premiere doesn’t like. MXF files cause this a lot.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Small sensor at f/8?
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Hate to say it but the audio in PPro sux basically. What people basically need is to be able to do exactly what you need very efficiently. Instead they tried to have it do all of the thinking for you and in the process made really simple tasks completely baffling. I keep thinking I’ve figured it out only to be completely baffled again. 4 level meters for a two channel source? Somebody explain that to me please. Just way too many variables and practically incomprehensible track routing.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Well maybe I wouldn’t call Lumetri crap but having non adjustable CC presets I find not that useful. And I would also call the 3 way CC another head scratcher. I wish Adobe would stop trying to re-invent things and just deliver things in line with what works. The default settings are useless. Just trying to warm a shot gives serious hard cutoffs so you have to tweak the ranges when you don’t have to do that on the other 5 or 6 major CCs out there. Do they test this stuff?
I’m actually liking premiere but some decisions they’ve made I find perplexing.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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In the process of trying to “simplify” the audio they made it way over complicated. Many times when I just have 2 tracks like L and R I see 4 in the mixer and I’m not seeing double. It finally dawned on me they more or less added in-line sub mixers as ways to deal with “adaptive” tracks, but they didn’t give you and sort of real guide as to how the audio is being routed and a way to easily change it when it’s not right. I thought I had it figured out and it still throws me for a loop and I’ve been doing this a long time.
But basically, if you’re track is set as stereo which I think can be changed by right clicking on it and setting it’s properties to stereo if it isn’t already, and by having not only a stereo sequence but also an adaptive, or standard track in the sequence, you can get what looks like a single track that is in fact stereo.
I would hope that they would fix this. There are many better ways to do this. All they would have to do for instance is nest the tracks where double clicking would open it up to see all of the individual tracks with mapping and gain. Click again and it looks like a single track. They’ll never do it. Also in 25 years of editing, I’ve used 5.1 source tracks on one project so I’m not sure why they spent a lot of time trying to accommodate those.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Well I would stay away from 50 unless you’re specifically doing PAL. I think your 2 best options are to one use a 720 59.94 timeline. The speed will still be right but there will be duplicate frames of the source material. Or use a 1080 23.976 timeline and up-scale. You would then be keeping a 23.976 work flow.
But also I have used 720 23.976 timelines in FCP before and it works. I haven’t tried it in PPro though but that is a legit format so there should be a way. Also stay away from “24P” and use 23.976. Sounds like a small detail but 23.976 is what the real frame rate is in the US and some hardware won’t work right unless you have it set for this.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Actually that codec IS an issue. Try deleting or moving the DVC Pro codec out of the Quicktime library. There is a known issue where that codec crashes the QT server making video out – which uses QT at the moment – not work. I’m not sure if this will work for Premiere but it has worked for AE.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Sorry I should have posted the basics. Adobe CC, OSX 10.8.4 on a 12 core Mac Pro with a GTX 570 32GB ram, and BM Studio. My RAID is a 3 disk internal raid with 3 3TB disks in RAID 0. The video renders reload properly. The situation would be better if the audio renders reloaded at least but why it needs to render “audio previews” for such simple audio is beyond me. And as I mentioned I went through quite a bit of trouble to make it as easy on Premiere as possible by replacing all of the 44.1 audio with 48/16 wavs.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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That’s right that says 14 hours! But it ends up being around 2 hours to render mostly a single track of audio in a 70 minute timeline. The source files are 48/16 uncompressed audio files. And if I close the project and re-open, it has to do it all over again. Please fix this Adobe this is adding major major time getting out updates to my client.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
