[Ryan Patch]

I agree – no need to transcode unless your machine needs it to play back. I have not found mixed timelines to be any less stable than single-codec timelines.

I work with very large documentary style projects, often with upwards of 2tb of footage in them. My project files are usually in the 100 – 400 mb range. It gets to be a pain, yes, but I don’t think it has anything to do with the codec of the material.

A note: a project file size is much more influenced by the number of cuts and clips in your timelines, rather than the number of clips in a project. Premiere does get a little wonky with large project files, and it makes me understand the wisdom of the avid process (only open the bins you need, when you need them).

You might try increasing RAM (at least 16gb) or saving onto a faster drive for projects (I use a 10k RAID 0 drive, mainly because I’m too cheap to buy an SSD).

Ryan

[Ryan Patch]

Yes, it’s clear that these extended markers are in v1 in CS6 and they have a long way to go. I have attempted to use this ALT shortcut, Jon, but have not been able to get it to work. There just needs to me a mappable hotkey for “Marker out” or whatever.

Although placing markers in prelude is a nice idea in an ideal workflow, and a powerful tool…. let’s be honest – how many documentaries use ideal workflows? Exactly none 🙂 We need this functionality in Premiere.

Ryan

[Ryan Patch]

I’m sorry what do you mean “You can use the panel for the logging to alter the IO timecode points too. They should be updating to the clips already in a Pr project too once they are saved in Prelude?”

I am working in a project that has already been in premiere for some time, and I’m annotating it as I build the documentary film. As I’m sure you know, it’s not like logging is something that you do all at once for a doc, as you make connections, etc, over time through the editing process, your footage morphs.

So, I’m looking for a way to modify these markers in Premiere. It sounds like holding alt may do this. I will test out.

R

[Ryan Patch]

Yeah, making media offline to increase project import speed is a great trick that I’ve never thought of. Seems DL should look at projects this way to begin with (cough cough) and not HAVE to do that…

Having a video/audio usage column in your media browser is super convenient, yes. However, there is the “Remove Unused” command under the “Project” drop-down. Little-known but useful!

Ryan

[Ryan Patch]

It baaas at me if I export low bitrate stuff (mp4) or high bitrate (DNxHD). It is related to the source media, not the end codec.

So, this problem is frustrating to me because although I know what is creating the problem (the AE dynamic link), it ALWAYS WORKS THE SECOND TIME I TRY. So… there is some way to do this right… just need to figure out how to get it right the first time.

R

[Ryan Patch]

You are correct, there is no better way to do this. Importing specific sequences into the Premiere project is obnoxious and takes time when you’re working with large, documentary – style projects and want to see specific sequences in it.

My advice? Get a good book and just bite the bullet one day and do it.

If you are ever importing more than one sequence, it will be faster to import the entire project, and then delete the timelines you don’t want. Then use the “removed unused” feature to remove media that’s not in a sequence.

Again, it sucks. But so goes the life of an editor.

[Ryan Patch]

Well, I think it’s important to point out that it’s not just former FCPers… it’s EVERYONE that needs this.

[Ryan Patch]

If you have your favorite VST depopper plugin, it’s pretty easy to load that up and use it in the audio mixer. Then you don’t have to go into Audition.

[Ryan Patch]

Hahahaha. Nice. I would love to give you some money, but it would likely only support you for a day!

I do know that XMLs are human readable, and have tinkered with them (as well as .prproj files, actually) successfully many times in the past. It’s the sheet number of clips, though, and I’d need a script that could automatically grab the filename and force it into the tape name… find a replace wouldn’t work for that!

[Ryan Patch]

Yes, exactly, Premiere’s “memory” for the reelname (I’ve since figured out refers to “Tape Name” in PrPro) is the problem – it will import the reelname on initial import, but there is seemingly no way to force premiere to look again for the reel names.

Bouke, I would definitely be in the market for a tool that could parse through premiere pro .prproj files or .xml files and convert Tape Names to the file names.

My colorist and I developed a workflow that I think will work – haven’t tested it yet, but just for others resources:

– Media manage Premiere project into different projects and folders for each reel. This will mitigate problem of duplicate media.
– Export .XML of sequence that’s been stripped of any premiere-specific effects (warp stabilizer, etc).
– Open this sequence in FCP and use FCP to force reel names as file names, export as XML.
– use qtChange to change reel names on files.
– Open XML in DaVinci.

WIll keep you all posted.