Robert Brown
Forum Replies Created
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I’ve been noticing to if you match into a shot, the shot loads in the play viewer with ins and outs, if you insert the shot you get the error message saying that the durations don’t match and asking you which out point you want to ignore. They kinda need to fi that. Just doesn’t make sense.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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I was having serious issues and have found the source of it. I had numerous sequences that were taking a huge amount of time to export audio or video. I had multicam sequences and I was getting “rendering required files ” messages all of the time which were a total pain. The sequences I had were around an hour but nothing seemed unusual. This was a dslr project and the audio was recorded separately as wave files.
After struggling with numerous delays it finally dawned on me that the external audio files were recorded at 44.1 while all of my timelines were at 48k. This was the entire source of the problem! I then took all of my audio files and converted them to 48k, replaced the old ones and all of the delays, and rendering required files errors vanished!
Pretty serious PPro error if you ask me. A simple audio variation and PPro comes to a crawl. While PPro converts 24 bit to 32bit it evidently ignores sample rate until render and at that point it seems to need to render the entire source file before it can do anything.
I’m glad I figured this out it was driving me crazy.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[Dan Stewart] “And the coincidences, bombast, flashing lights, loud noises, ridiculous plotting, melodrama and attractive people running and jumping!
This time with lightsabers!
“Exactly. The old Star Trek worked and they didn’t have one hundredth of SFX capability or lens flare capability. There’s a lesson in there somewhere.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Weird choice, I hated the new Star Trek. It was sad to see Lucas sell off to Disney and now this? I guess I’m a purist.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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One issue I’m having has to do with audio. I have sources with longish audio like hour long audio files. When I export it takes a really long time before the render bar even starts to move. If I turn off audio it is much faster. Really annoying. Getting all kinds of “rendering required files” warnings too where on some sequences it will say that EVERY TIME I push play. It goes away after I render audio only which takes sometimes a half hour for an 8 minute clip. Nothing unusual about the audio, wav files from an external recorder.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Uh well sure you can oversimplify it if you want. I was able to get it to work for my system because I could hardwire the analog outs of the Kona box into my Presonus and it’s able to mix incoming signals with what’s coming out of the computer all at the same time. This works FOR STEREO. But the main reason I got this Presonus box was because it’s an excellent 5.1 monitoring solution. One firewire cable and it handles all D/A with TRS jacks that go straight powered monitors. It also has a monitor panel with ONE volume knob for all 6 channels and I can mute any channel I want. It’s really a great solution for 5.1 monitoring.
But now with Premiere while using AJA I can’t use it anymore. I would now have to go back in time to what I was looking at before buying the Presonus which is multiple D/As and finding some sort way to change the level of all of the signals at the same time. See what I mean? Sure I can “make it work” but my reason for posting this was because IMO this just isn’t finished yet. You need to be able to use whatever audio device you want while using Kona for video like I can already do with 5 other programs I use.
Also both of the facilities I work at have 5.1 rooms so adding in some cheap mixer or expensive one to the L&Rs is crappy because now you have an additional gain adjustment for the 2 L&R speakers that’s not locked to the other channels.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Also, if this now works it could be ok for a solution with a separate audio interface like I have on my own system but what do you do to get system audio if like I mentioned the Aja is your only audio output and you can’t select Aja for system output? And that’s exactly how they do it at both places I work. I still think this needs to be addressed somehow.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Well it had been a while but I found this from aja:
It’s critical that both the System Preferences audio settings and the Premiere Audio Hardware preference not be set to “AJA”. If either is set to AJA hardware, drop outs and distorted audio will result. Also important: if the setting in either case is incorrect and then corrected, the system must be rebooted before audio will be restored to correct operation. The usual settings for the Mac OS audio should be “Line Out” or “Internal Speaker,” etc. Anything other than “AJA”. For Premiere, the usual setting should be “System Default” etc. and not “AJA.”
I’ll try it again but it’s been very spotty with everything I’ve tried and there was a whole thread about this a few months ago. And on my system at least it seems to be pretty much the same as it was. Hopefully I’m wrong.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Well you might get an angry reply from Grant on that post. But, I recently bought a BM Studio board for Davinci use and have to say on the Mac side it’s pretty crappy. Serious lag in PPro meaning the video out is several frames behind PPro’s monitors with no apparent solution. Also if you are doing something as basic as editing 24p into a 29i timeline, expect no video out from the source monitor. For whatever reason they are able to add pulldown on the Windows side with the same board and oddly sometimes it actually did this in Mac but I couldn’t figure out why it would come and go. I’d have to say the BM drivers are almost unusable for PPro in Mac at the moment.
I have boot camp and found them to be better in Windows.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Dolby 5.1 can be tricky because you have to have a Dolby encoder obviously and then it will only playback with an AC3 player. If you are making a DVD or BluRay you can use apple compressor to turn your surround wav files into 5.1 AC3. Then you can use Encore and that can burn the 5.1 and a stereo pair if you want to a BluRay or DVD – you would have to provide the stereo file as another file to Encore.
Compressor I think is the cheapest way to do it and most people already have it.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos