Ryan Patch
Forum Replies Created
-
Matrox JUST released a new set of drivers for CS6. Also update to premiere 6.01 and see where you stand.
-
My $.02 –
As Alex pointed out, there is a problem with the way that Premiere handles multiple versions of the same media in a project that mucks up collaborative editing. As he said, when used assembly-line style, this isn’t a problem (everyone makes one part of the project, unique timelines / media are all imported at the end. Everyone’s happy). However, if people are constantly “checking out” and returning timelines with media from the same project, re-importing these timelines creates duplicates, which is a problem. Again, assembly-line style is the way to go here.
I would like to talk briefly about another small workflow thing you need to be aware of. Premiere creates waveform .pek files (the visualization of the waveforms) and .cfa files from every media file you import. You can specify where these are created. I find it most convenient for these to be placed “next to the source media” (an available option) so that then I take a project media offline, I don’t have all of the conformed sound files hanging around. However, the location of these conformed media files is written into the project, not the actual media file. This means that (at least in 5.5) if you had user 1 import a file on their computer, it would conform it. However, even if that conformed media file is placed next to the original file, when user B imports this file, Premiere will re-conform this file and place another conformed media file next to it.
Now, I will say that CS6 changed something about the way .cfa files work. However, I don’t know what. It was not in any of the documentation. This may be different, but I am not sure. Also, if you just need to nuke all .cfa files on your drive, it’s not a big deal, Premiere will re-generate all of them in the background – but it’s annoying as hell.
To get around this problem, my shop wound up just ONLY “ingesting” files once (through a couple of assistant editors). Then, when editors needed the files, they would pull them by importing projects, not the individual files. This worked fine, but it’s not ideal.
The lack of premiere effects has led me to make heavy use of AE, which is more powerful than FCP. I have had no complaints here – I love this workflow.
Lastly, I must jump in and say that Premiere DOES have relative path relinking… it’s just finicky sometimes. I’d say it works like 70% of the time, but is a nightmare if you are working with Canon or Zoom files that have identical names. Adobe knows this is a problem and is working on it, though.
-
I actually was at the NYC Blackmagic event yesterday, where a guy named Colin was supposed to do a presentation about using Premiere with BMD Resolve. He didn’t touch this issue in the presentation, but I heckled him about it afterwards, and he had an idea –
His workaround, which seems fair enough, was to use, in CS6, the “Send to SpeedGrade” command. What this will do is generate 10-bit DPXs of your media (a little lame to wait if you don’t need DPX, but stay with me) as well as a SpeedGrade file. This WILL look inside the nested sequence and generate the right cuts.
Then, in SG, open the file and choose “Export XML”. Voila, you have an XML with nested sequences handled properly.
I have not tested this yet, but will soon.
Ryan
-
No. Big problem / oversight, in my opinion, given the prominence of DSLRs and Zoom recorders.
-
Yes.
You will have to do a quick re-link of media, though.
It’s worth noting that I have had some trouble with this when re-linking projects with duplicate filenames. For instance, if you have several different MVI_0001 files because you were shooting with a 5D, or several 4CH001I.WAV files because you used a zoom recorder… when premiere asks you where those files are, and there are 5 or 6 different version of the file, there’s absolutely no way for you to know which version it wants.
To return to your question, though, if you don’t have duplicate filenames like this, it will be fine.
Ryan
-
It sounds like the video you’re talking about it simply smaller resolution than the rest of your footage / your sequence settings. Just click on the clip and open up the “motion” effect in the effects window. Increasing the size, I bet, will fix your problem.
If that doesn’t work, could you be more specific about the two different types of footage you have?
-
ProRes 422 HQ will be fine for your situation, especially if you have as tight turnaround. RAW workflows, while technically superior, give you only marginal gain unless you are doing crazy things with your footage. Unless you are planning on doing a lot of composting or doing huge stylistic looks on your footage, stick with the 442.
-
I have downloaded and installed update, and now all of my media files are having their .pek files regenerated, and it’s taking quite a while to load up all of my media. I have the “automatic peak file generation” on, and it’s my understanding that this shouldn’t change anything about the way pek files are handled. Why are all of my visual waveforms gone, the .pek filed being re-generated (as seen by date and time stamp on .pek files in media cache) and my media re-loading very slowly?
-
Nick –
I am running a Quadro 4000 and getting this issue. I don’t think it’s the video card.