Shane Ross
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What is the CODEC of this footage? It might not be supported by Premiere, and might need to be converted first.
Shane
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Couple ways.
1) In your new project, to go FILE>OPEN BIN, and go to the DOCUMENTS folder, and then AVID PROJECTS folder, navigate to the project you want to grab something from…locate the bin, open it. And then OPT-Drag that into another bin.
2) On the FINDER level, locate the bin of materials you want in the old project. Copy that bin. Navigate to the new project…paste. Or you can have two windows for each project open and copy from one to another.
Shane
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Not sure what to suggest. I’m a Mac editor forced to work in a PC environment due to needing to log into a station remotely. Biggest issue with me is modifer key muscle memory.
Not sure what to do about your sequences beach balling, as I said, I’m usually on a Mac and don’t have those issues…unless I do a heavily effected shot or sequence. Nothing is really modified to optimze anything/
Shane
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You can’t get full yellow (best performance) when you have ANY hardware on the system…not just BMD hardware. Avid hardware, AJA…doesn’t matter. If HW is activated, that option isn’t available.
WHY? No clue…not an engineer or coder. It’s just the way things are. I’m sure there’s a very valid reasons, like it would look like poop on the external monitor, or it takes too many system resources to do that while HW is on, or something.
Shane
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In the FILE menu, look at IMPORT and then SOURCE BROWSER. That’s the new AMA interface.
Shane
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Try a different external drive. DROBO isn’t ideal for editing. It’s great as a redundant archival source, and uses software and hardware magic to allow multiple drives of different sizes to make a solid RAID. But this often slows the performance and can’t meet the demands of streaming video. I had a friend try this and while it worked fine some of the time, other times it’d lag horribly for a bit, then work properly, then lag again. He got a different RAID setup and all worked well after that.
Shane
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OK, so you sent off an XML or AAF and they graded that. What did they send back? JUST the media? No XML or other file to import and have a timeline with the new graded media? Because when I’m given a project to online and color, the XML file often contains resizing information, so it’s scaled on my end, and then retains that when I give it back to the client.
There are times scaling information doesn’t come over, but that’s why I also ask my clients to provide a low res, timecoded, H.264 file I can use to compare the shots. To confirm that all the correct shots made it to me (often the timeline will link to another random shot) and to confirm that I have the proper scaling.
Shane
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How were the proxies made? within premiere pro/media encoder using it’s method for making proxies? Because in doing that, relinking to the proxies is just a button click. If you have new 8K masters that were colored (odd to do this BEFORE editing is complete, but OK)…you can try to replace the footage you made the proxies from, swapping them out…hope that they have the same name…and see if they relink with that single button push. They might not, if they are rendered out media from somewhere else, it might lack the metadata needed to simply relink.
Color correction is typically done after editing, so you don’t have relink issues.
Shane
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The “Interpretation” applies only to the clips you do it to. Once you make proxies of the media, those are new clips. You need to INTERPRET them separately. The interpretation doesn’t transfer.
Shane
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The Avid codecs are installed when you install Avid.
So you export SaS in Avid, which is DNxHD, and AME doesn’t see it? Hmmm
Shane
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