[Ryan Whiting]

Nevermind – turns out transition layers were hidden on ‘shy’ mode (duh!)

[Ryan Whiting]

Thanks Dennis – i don’t think anything in the project is corrupt, as I can edit each of the individual assets without issue. Have you seen the “serious error” message occur when a project is simply asking for more computing power than is available? Since moving to a more powerful machine isn’t an option, perhaps you’d be willing to explain how to execute a “gone girl” workflow?  * “Gone Girl was shot at 6K on a RED Dragon with creative editorial at 2054×1152 as offline ProRes422 LT with a viewable center extraction of 1920×800 in the timeline… shot at 6K, framed for 5K, edited offline in 2.5K… The film was conformed by nesting After Effects projects on a Premiere timeline.”
I’m not entirely clear on how to do this.
Thanks very much,
Ryan

[Ryan Whiting]

It’s a good question James – i created a new project and imported the footage in question, placed in its own timeline (with settings matching its own) & did some basic cutting & manipulation…no problem.

My original project keeps crashing, however – it seems that whenever I introduce footage that doesn’t match the R3D files settings into the timeline, it’s only a matter of time before I get the “a serious error has occurred” message and am forced to quit. This is now happening with footage shot on the GH4 (3.8 & 4K) as well.

Could it be I just don’t have enough computing power or graphics card capability to edit all these different formats – 3, 3.8, 4, 5 & 6K – on a 5K timeline? I’m already struggling to get a reasonable playback at 1/8 resolution with only 1 layer visible.

I’d like to end up with a final timeline in 5K…do i need to work with proxies?

[Ryan Whiting]

Hi CC Community ~
I am working in Premiere CC (v 8.2).
The project has (A) R3D media at 5& 6K, and (B) .mov files recorded on a GH4 camera at 4 & 3.8K, and I am editing these together in a 4K timeline. That’s all fine and good.

However, when I import a 3rd media source – ~600′ of 16mm transcoded to an .mov file – the project encounters a ‘serious error’ within a minute or two and quits, then shows this error on start-up from then on.

The transcoded 16mm footage is a single file: 106+GB, Apple ProRes 4444, Color HD 1-1-1, Data Rate 847.67 mbit/ sec.

My system is: MacBook Pro, OS 10.8.5, Processor: 2.7 GHz, 16GB/ 1600 MHz DDR3, Graphics: NVIDIA GeForce GT 650M/ 1024 MB.

Please advise.
Thanks,
Ryan W.

[Ryan Whiting]

Hi John ~
I completed editing a project in Premiere CS6 and outputted an XML for Resolve. The footage was 4 & 5K R3D, and my edit was in 1080.

I removed any reposition/ framing CHANGES that happened within a clip before exporting my XML, but left any clips that had such changes at the lowest/ widest scale # they were seen. For example, if I “pushed in” on a shot & keyframed from a scale of 40 to a scale for 48, I left it at 40.

There were, however, some shots in the edit for which I simply selected the “Scale to Frame Size” (1080).

In getting my graded footage back from the Resolve, there are lots of scale and position issues – and information outside the ‘widest’ view of the frame has been cropped/ no longer exists.

Any advice on how to fix this? Does the XML from Premiere need to be consistently of one world – that is, EVERY clip’s scale manually chosen, or every clip is Scaled to Frame Size?

Can the Resolve interpret this scaling and position information at all? Can it be used or ignored for the color grade, but maintained so that it can be outputted back in the XML going back to Premiere?

Any advice/ information is much appreciated!

Ryan W.

[Ryan Whiting]

Hi John – did you ever figure this out? I have a 3min project edited in PremierePro CS6 – shot on RED with 5K & 4K files. Because I’m outputting to 1080, I have plenty of room to manipulate the framing, and so I did quite a bit of repositioning/ reframing to the clips, while some of them were left with the ‘scale to frame size’ box checked.

In getting footage back from the colorist who graded in Resolve, the repos and frame sizes are all off.

What are the scaling/ position rules that need to be followed in Premiere prior to exporting an XML so that these repo’s/ reframes translate over correctly? And what are the settings in Resolve that allow the colorist to export graded media and xml that will apply said repos/reframes when imported back into Resolve?

Any help you can offer is greatly appreciated!
Thanks!

Ryan W.

[Ryan Whiting]

Hi Walter – i understand this method works for you, but what if you don’t want to work on a flattened sequence in Resolve? My only issue is the frame sizing…shot in 5K, edited for HD (1080), with about half of the shots repositioned/ resized, and half automatically resized using ‘scale to frame size’. Will that automatic rescaling done by Premiere translate over?

Any advice on this?

[Ryan Whiting]

I am trying to get my colorist a sequence edited in Premiere CS6 that links to the original RED files for color.

I understand it might be an option in some cases, but in this case rendering out a flattened QT is not viable. I’ve removed all the transitions…but I’m wondering about REPOSITIONS.

Footage was shot in 5K, while the edited sequence is HD (1080). If SOME of the clips have been ‘automatically scaled to frame size’ will that screw up those have been re-sized?

[Ryan Whiting]

Thanks Chris ~

Any idea where i can find it???

[Ryan Whiting]

I just got off the phone with Apple Tech Support who told me FCP 6.0.6 is NOT compatible with ML (10.8.2) – (I have tried installing and it won’t open for me).

How did you get this to work???

Appreciate your input

Ryan W.