Scott Clements
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Premiere Pro Coins
Forum Replies Created
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Thanks for the suggestion, Dennis. I’ll give it a try.
Film Editor, London UK
http://www.scottclementseditor.com -
Hi, Dennis.
Thanks for your response. To answer some of your questions:
[Dennis Radeke] “Hi Scott, it’s always great if you can include the link where you read this or give a description of the bug. Simply put, Premiere Pro most definitely DOES import AAF and we’re doing a much better job of it over the last couple of versions. I”ve got a couple of customers where an AAF workflow is pretty important and it’s working for them. Can you elaborate specifically on what’s not working there?”
Sorry I don’t have the link. I went on a search for it, but was taking too long. Basically, when I import an Avid Media Composer 8.3.0 AAF, the timeline shows up blank in Premiere. I’ve never had luck importing AAFs into Premiere – either getting error messages, or in this case an empty timeline. It’s not something I’ve had much of a need to do until now though. XMLs usually come across fine.
[Dennis Radeke] “As for poor playback, you do have the option of a chosen playback resolution which always allows the user to balance real-time playback versus quality.”
Even playing 1/4 resolution was herky jerky – better, but still problematic.
[Dennis Radeke] ” If all your material is ProRes HQ and you want to get rid of the yellow line, create a sequence preset that matches the clips, copy and paste the clips into Premiere Pro and you should be good to go.”
I tried this before you suggested it and it didn’t work. The only way I was able to get rid of the yellow line (which was affecting performance) was to create a new sequence based on a ProRes clip, paste an xml sequence into it (which still had the yellow bar), match frame the shots I wanted to work with and re-edit them into that timeline. Then the yellow bar disappeared. Copying and pasting the edit into a new ProRes sequence did not solve the problem.
When I had the yellow line above footage, I believe Premiere was not actually playing the ProRes footage directly but rather preview files. There was a huge cache of them on by computer afterward and I saw it making transcodes/conversions in the bottom right. I am very new to Premiere, so don’t fully understand this process. It makes sense for Red footage, bt not ProRes HQ.
[Dennis Radeke] “One final note for you. With Premiere Pro (or any 64-bit NLE), the system performance is based around the balance of the computer you are using. In other words, it is only as good as the sum of the components. RAM, CPU, GPU, HDD speeds are all crucial factors to making your system perform at its best. The two easiest to address are RAM and possibly a GPU (if an old Mac Tower). “
I’m aware of this. My early 2011 macbook (with 16 gigs of ram) is getting a bit long in the tooth, but is perfectly able to handle ProRes HQ in Avid Media Composer 8, FCP 7 and FCP X.
[Dennis Radeke] “There certainly isn’t any Adobe/Apple war. “
It is clear from the Premiere interface that Adobe doesn’t want to do anything to facilitate or encourage using ProRes. There are no ProRes custom set-ups. This is an obvious omission, because ProRes is so widely-used. Even Avid has embraced it.
Film Editor, London UK
http://www.scottclementseditor.com -
I think this is how ProRes should be in Premiere. The below quote is from the linked article you sent me:
none: This segment of the sequence does not have a rendered preview file associated with it, but the codec of the source media is simple enough that it can essentially be treated as its own preview file. Playback will play directly from the original source media file. Playback at full quality is certain to be in real time. This only occurs for a few codecs (including DV and DVCPRO).
Or is this Premiere-specific ProRes problem a result of the Apple/Adobe war?
Film Editor, London UK
http://www.scottclementseditor.com -
Thanks, Jeff. I had read that the yellow render bar was benign, however….
Why is it that if I bring a ProRes HQ clip into Premiere and then right click on it and “make new sequence based on clip”, the newly created clip and timeline has no yellow bar? Also, if I match frame the clips with the yellow bar above them and then edit them in from the source window, there is no yellow bar above the newly edited clip? Also, I noticed that Premiere was converting/transcoding? the ProRes clips in the sequence with the yellow bar….I saw it working on them in the bottom right. It shouldn’t have to do this with ProRes.
The herky jerky playback is on non-affected clips. The footage drive is usb 3 going into a usb 2 port on a macbook pro (not ideal, I know), but ProRes plays fine this way in both Avid and FCP 7. I was able to get better playback speed in Premiere by switching to 1/2 quality (or whatever it’s called) but still, that yellow bar is seems to be signalling that there’s a slowdown of some sort.
Film Editor, London UK
http://www.scottclementseditor.com -
I think undos only affect the entire sequence when in Edit mode and only affect the parked-on clip in colour mode. Park on a clip in colour mode and hit undo dozens of times – it will not undo colour corrections on other shots.
Film Editor, London UK
http://www.scottclementseditor.com -
What I was saying was that Resolve may store my stabilisation data, but it does not store a record of the numbers I entered into the strong and smooth controls. So, if I finish working on a stabilisation and have entered 75 for strong and 10 for smooth, and then I go work on stabilising a shot and enter 100 strong and 0 smooth, when I go back to tweak the first shot I was working on, the strong and smooth numbers will be 100 and 0. So I have to start fiddling around with the numbers all over again, trying to figure out the perfect balance. If I forgot what the numbers were, I could actually make the shot worse, rather than tweaking it. This is what I mean by not storing strong and smooth settings. I would love to be wrong about this and have someone tell me Resolve does store a record of these settings.
Film Editor, London UK
http://www.scottclementseditor.com -
Hi Sasha,
There would be multiple instances of the same shot because it’s a documentary with long takes, but each clip is kept track of separately by Resolve (originally an AAF from Avid). All my grading is on a clip by clip basis – changing one grade affects no other clip. However stabilisation has nothing to do with the grade and the Strong and Smooth settings don’t update on clips/shots that are obviously different.
Are you are saying that Resolve DOES store stabilisation strong and smooth settings? That’s really what I’m asking. If so, that’s great and I would love to know how that works.
I took Alexis Van Hurkman’s excellent 14 hour Ripple Training and read all about stabilising in the manual, but those things didn’t address this issue.
I like Resolve a lot and think it’s a great tool, but do think it has problems and do get frustrated – so, you’ll have to excuse me expressing this, but that’s how Black Magic will learn what users find troublesome with the product. Obviously, I’m looking for workarounds and am keen to get the most out of the program.
Film Editor, London UK
http://www.scottclementseditor.com -
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Yes, that’s what I’m asking. But that is not the case for me. I will click on a node an stabilise and then I can delete the node and the stabilisation will still be there. The only thing that removes the stabilisation is deleting all the tracking data.
Film Editor, London UK
http://www.scottclementseditor.com -
Thanks for the advice. All the original footage is ProRes HQ. I had my cache set to the same, but I’ll try regular ProRes to see if that makes any difference. My mac can handle ProRes HQ and even ProRes 4444 fine…it’s Resolve that seems to have a problem properly rendering it.
Film Editor, London UK
http://www.scottclementseditor.com