Ryan Patch
Forum Replies Created
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– Best way that I’ve come up with to do 3-point edits without bringing sound in is to just deselect the audio tracks, then when you edit in it doesn’t bring in sound. I have audio 1-6 mapped to the 6-1 keys, respectively (in keyboard customization, search for “toggle”), like Avid’s default, for easy track enabling/disabling.
– I do not know of a way of turning on or off timeline-wide linking, but I usually either can get around that by track enabling in edit (again, made easy through shortcuts) or by ALT-clicking or ALT-lassoing on the element that you’d like to manipulate separately on the timeline to override links. On Mac, it’s either Option click or command click, I forget which.
– I have default transition mapped to CTL+T, which is very helpful. You can’t click on the cut and apply a transition, but by holding down SHIFT and dragging the playhead/time indicator to the cut that you want, it will snap to that cut, and you can easily CTL-T transition it. Make sure to setup your default length in the preferences. I like to have a different default lengths for Audio than video. The transiton will apply to tracks selected. If this isn’t working, it’s likely because the track you are trying to apply to isn’t selected. You can also move between cuts on enabled tracks with hotkeys – I have mine mapped to up and down arrows.
– Yes, changing sequence settings after the fact is a drag. Easy way to do it, though, it to create new sequence, then just CTL-A, cut and paste media into new timeline. If you need to resize everything in a timeline, don’t forget about paste attributes.
– A project file, because it’s being read/read/written with bytes of data every second, does infinitely better on a local drive.
Ryan
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Almost exactly the size of ProRes files.
If you used DNxHD 115 (a 24p bitrate), the equivalent of ProRes 422, that is 115 mbps, so 60 seconds of that is 6900 megabits, or 862 MB. It sounds like a lot, but it’s the same as ProRes would be, and is worth it to keep quality.
Ryan
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I am not familiar with PAL workflows, but have you tried right-clicking on the footage and then hitting “Modify> Interpret Footage” and then messing with framerate and field options there? You could also try messing with the “clip>video options>field options…” menu command.
Ryan
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I guess I’m a little confused why you’re rendering something out if it’s going to cable and not laying it off to tape?
In any event, though… auto GOP placement is fine.
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Pretty sure you’re thinking of AE.
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Yes, those are fine settings, there are very few reasons to change them. What is your target that you’re exporting for?
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Don’t export to h.264 – as you said, this is unmanageable for FCP to edit. You’ll also put your footage through another round of compression, which will degrade quality.
As suggested before use Avid’s DNxHD formats. They are virtually identical in form and function to ProRes, and both mac and windows, Premiere and FCP can use, decode, and encode with a free download. I strongly believe that DNxHD should become a rallying point for Premiere editors.
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Yeah, I’ve found that I always want the option to add more ram, so I would definitely leave room to step up – that’ll really increase the life of the comp.
Also, there is no excuse not to get an nVidia card with CUDA acceleration. That is what is so revolutionary about 5.x, is the CUDA. It really is as great as it sounds. If you spend money on another graphics card, you’re seriously dumb. It’s worth even taking a step down in processor speed to step up in a GPU.
Ryan
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I have discovered the batch import tool, which appears to be what I need. However, I’m getting this error, importing 5D footage:
Batch import clip 1 of 1 FAILED: sc050_A_2_MVI_1121.Copy.01.new.01 with error:
Exception: Cannot quick import a mixed resolution QuickTime movie.
Batch imported 0 of 1 clipsAny ideas? The clip is just a normal 5D h.264 file.
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Nope, unfortunately it doesn’t exist. XML formats don’t support multicam (at least the way Premiere writes it) and there’s no “collapse”, unfortunately. I had to rebuild my timeline from scratch. Adobe seems committed to being interchangeable (as seen by their partnership with Automatic Duck,) so I’m hoping that in CS6 we’ll see a fix to this. Would be great to see it sooner, though!
Not being able to edit using multicam when I know I’ll have to pass the project to a colorist via XML is a HUGE drag.
My workaround has been to drop the multicam cut nested sequence into a duplicate of the source sequence, and then lining up the cuts so it was easy to duplicate it. Sucks, but it saves a bit of time.
God speed.