[Stephen Abbott]

Hey Ben,

Provided you don’t change the timing of the master sequence, you can do this with nested sequences.

1) Take your master seq and nest it in a new seq.

2) Trim the nested master seq to the desired length (markers might make this easier).

3) Create a new sequence and repeat 1 and 2 for each area you want to render out separately.

4) Select each sequence in the project window and hit File > Export > Media. Since you’ve selected more than one sequence, you will be forced to send the renders to the Adobe Media Encoder queue.

5) Voilà!

The caveat: things will get a bit messy if you doing any ripple-editing on the master sequence…

S

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Stephen Abbott

[Stephen Abbott]

Hi Pavan,

I’m resurrecting this a year+ on. I’ve replied to a more recent post with a solution:
https://forums.creativecow.net/thread/3/976140#976986

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Stephen Abbott

[Stephen Abbott]

Hi Sandy,

When you say that the titles were “created in Premiere”, do you mean using the title generator (New item > Title)? If so, there is one way I use quite a lot to get these subtitles out of Premiere and eventually a spreadsheet or .SRT file. It’s a bit convoluted and does include some manual labour, but here goes:

1) Rename the title clips in the project window to match the title contents. (Consider mapping a shortcut for the “Clip > Rename” action.)

2) Export an EDL. I’ve tested this now, and it appears that the EDL export dialogue doesn’t behave as expected for some of the settings—in particular the 32-character option and the source file name option don’t seem to do anything when it comes to text clips. The text clip is always referenced by the name in the project, which is why you need to edit the titles in the project window are described in (1). Length is no problem: I just exported a 630-character long title with no problem.

3) Do some text bashing (either a macro or a lot of careful “Replace All” in TextEdit) to get the EDL into spreadsheet shape, or into a standard .SRT text format.

While this does basically mean re-doing the titles from scratch, you do save the manual effort of re-timing the subtitles. And you could conceivably save a bit more time with because you can copy-paste each subtitle into the title clip’s name…

I hope that helps! Let me know if you need help with (3).

–

A side note: I’ve actually started using a variation of this in Premiere as my standard subtitling workflow: I generate the subtitles in Photoshop as multiple layers. This gives me good control over the burn-in rendering of titles (better than anything I’ve found from closed captions), which is great for approvals and for the primary language, which people generally want burned-in in any case.

Each PS layer has the correct clip title on import into Premiere (with a suffix that is easily removed during step 3 above), so I can easily generate .SRT (or spreadsheet) subtitles on delivery.

That makes it easy to deliver a timecode accurate spreadsheet for translation and soft-coding onto a subtitle-free export. I work in English, and Western-language translators often just translate subtitle-for-subtitle off the English master, which keeps the timing identical. For a more nuanced translation, the original English timing is a good place to start in any case.

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PS > Michael Cinquin has a very useful set of web scripts for subtitle bashing. It’s a bit old now, focussing on FCP7 and Belle Nuit Subtitler, but I still sometimes find his tools useful for moving between different formats when I’m too lazy to write the script myself… 🙂 Edit: here’s the link to those tools: https://www.michaelcinquin.com/tools/subtitles

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Stephen Abbott

[Stephen Abbott]

Hi again David,

Well, I got the 20% off that’s advertised ($600 down to $480 for the year), including an early cancellation of my recent membership and a refund. I did this via the web chat, and it took a while and was a bit frustrating, but at least I was able to do low-level work while it went on!

But … you I understand got the price down to $360—$29.99/month?

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Stephen Abbott

[Stephen Abbott]

Thanks, David, that’s good to know.

My chat with Adobe’s rep sounded like I would need to cancel my current (recently bought) subscription and re-purchase the discounted one.

But, one question: you say $29.99/month, but I see the discounted amounted offered as $39.99/month (from the normal price of $49.99/month, annual plan paid monthly). Where did you see the $29.99/month special?

Cool!

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Stephen Abbott

[Stephen Abbott]

Hi again Peter,

Oh, I just saw you mentioned After Effects in your original post. That’s a little bit different: you’ll want CPU and RAM. GPU is not nearly as relevant—unless you’re using the native ray-tracing it isn’t much use at all. Make sure the cache files are going to that speedy SSD.

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Stephen Abbott

[Stephen Abbott]

Hey Peter,

A pleasure!

Re: overheating: I’ve not had a problem with the very hot GTX 480. Mine is actually underclocked by Macvidcards to draw a little less power, and I’ve taken to calling it “My 250-watt always-on heater”. It’s a ‘blower’ type card, which I’ve seen recommended over the open fan type cards, probably on Macrumors.

Re: CPU: definitely worth doing for Media Composer. GPU acceleration is more limited there, for now. If you had a dual-CPU 4,1 it is more tricky, but the 5,1 means you can literally just slot them in!

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Stephen Abbott

[Stephen Abbott]

Hi Peter,

I’m also running a classic Mac Pro as my main edit machine. With your system and media drives nice and fast, the stock GPU is definitely a bottleneck for Premiere.

What kind of work are you doing, with what footage? What’s your budget?

Today, Nvidia is better supported in Premiere, using CUDA. For the bottom-end I’d suggest an Nvidia GTX 970. Top-end is indeed a Quadro, as Tim recommends, but these will get expensive quickly. Though far from the only indicator, compare the CUDA-per-dollar performance of all cards you’re considering.

My opinion is that a good gaming GPU will get you rather far in HD and light-to-medium 4K (Edit: but then, I am happy with hacked-together solutions for less money!). It very much depends on the kind of work you’re doing…

The gaming GPUs are only unofficially supported on the Mac Pro, but they work just fine. Once you’ve installed Nvidia’s Mac drivers for GeForce and CUDA. You won’t get boot screens and you won’t see any cards in the PCI section under System Report, but all should work fine. You should thus probably keep the stock card around for when you need to do trouble-shooting. (Or leave one in another slot) If this bothers you, you can pay extra to have a gentleman in LA named “Macvidcards” replace the firmware on your card for a fee, making it fully Mac compatible. I bought an old GTX 480 from him via eBay, and it works flawlessly.

Also, consider the power requirements of the card(s) you’re considering. If you’re powering with just the PCI slot + 2* 6-pin PCIe power connectors, you’ll be more limited. The alternative is a (lightly) frankensteined rig with an external power supply just for the GPU. You can safely power a stock GTX 980 internally, but beyond that you’ll need external power. From memory, the limit is 225W (75W from the slot, 2* 75W from the two external power connectors). But more like 200W, for a bit of margin. Drawing too much power can burn through the traces on the motherboard of your Mac pro, which will be rather costly to replace. A rule of thumb is that powering internally requires you to avoid cards with 8-pin power connectors. In gaming card terms, this means avoiding anything above a stock GTX 970 or 980.

There’s a lot of info on the Macrumors Mac Pro forum:

. External power supply that is triggered by the Mac Pro.
. Debate about using an 8-pin power connector, and the extra draw
. Mr. Macvidcards is on those forums, dispensing good advice.

Oh, and if you have a Mac Pro 5,1 and haven’t already, there’s no reason not to upgrade the CPU(s). Get the Xeon X5680 or 5690s second hand on eBay for ~$200 a pop. A special screwdriver, some new thermal paste and a bit of DIY is all there is to it. If your Mac Pro has the slowest (standard) CPUs installed, you should see your Geekbench CPU scores roughly double, and some tasks should nearly match that increase; even with the best GPU Premiere still leans on CPU for some things—why not max that out for very little money?

Lastly, as a bonus: Da Vinci Resolve has fantastic CUDA support. I’ve seen post houses with their old Mac Pros in the corner, stuffed with gaming GPUs and doing 24/7 REDRAW and ARRIRAW transcoding duty… 🙂

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Stephen Abbott

[Stephen Abbott]

Hi Scott,

Hmm, that does sound strange. Do you have to reconnect the display itself before you can re-enable Mercury Transmit?

Things to try with Mercury Transmit:

1) You can assign a shortcut to toggle Mercury Transmit, which may make your ‘poking’ a little less click-intensive.

2) In Mercury Transmit, you can enable ‘visible in background’ (or whatever it’s called) to leave the fullscreen playback on even when Premiere is not the foreground application. As I recall, I think hiding Premiere with Command-H will hide the fullscreen, too, but Command-Tabbing to a different application will not. That may help cut down the times your playback fails.

Things for full-screen playback:

3) If that works, then go for it! I’ve found it a bit less stable than Mercury Transmit, but I still use it a lot. Have a dig around the menus and see what secondary viewers you can put on your laptop screen—I don’t think there’s a way to create two program viewers, but you might get close…

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Stephen Abbott

[Stephen Abbott]

[Tero Ahlfors] “It’s only metadata and if the format doesn’t support the metadata you’re writing it’ll make an XMP sidecar metadata file next to the footage file.
“

Well, metadata as a sidecar or somewhere else entirely seems like a better idea, and (for me at least) it is surprising that this isn’t the default. Yes, Premiere is simply changing the metadata inside my, say, Quicktime footage files, but doing so means any checksum on that file will fail to confirm that the file is as I left it. Who knows when there will be both a metadata change and a corruption of some kind… certainly not the checksum at that point. That seems like a pretty big drawback for any real monitoring of the status of my media. Like I said, fine for proxies where the integrity of the media isn’t really a concern…

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Stephen Abbott