Steven L. gotz
6
COW Coins
4
Premiere Pro Coins
Forum Replies Created
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I am not happy with the way the workspaces are stored, but with a decent Find and Replace program, I was able to search all of the XML files and found my workspaces under the following directory:
C:\Documents and Settings\Steven\My Documents\Adobe\Premiere Pro\3.0\Layouts
Notice that they are numbered, not named. The name is inside the file under
UserName .Steven
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Why can’t you save workspaces? Does the file exist after you save it? Can you select it off your list? I have not seen a problem.
Steven
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director.lionel,
This is a lot of questions. I would recommend breaking these into separate threads in the future. I think you’re more likely to get useful responses if you break up and ask single questions.
I am just venturing into the AJA world, so I pointed out your post to a friend of mine who knows his way around his AJA cards pretty well.
He doesn’t hang out on forums. (What? Someone who doesn’t hang out at the COW? Preposterous!)
In any case, this is his response….
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” (The AJA data rate calculator seems to think we will take up 12TBs, so I wanted to see if anyone can come up with a number from actual experience.)”
The AJA data rate calculator is pretty accurate in my experience. PS, if you’re building a RAID that big, be sure to break it into 2TB partitions assuming you’re using a 32bit OS. RAID them using the windows disk manager, rather than using a RAID utility. All this said, 12 TB of storage is like over 20 hours of 10-bit YUV at 1080p24. So if you have less than this to capture, I suspect that you did your calculation wrong. If you actually have more than 20 hours of footage to use, I recommend just batch capturing what you need. Preview it on the tape and make a batch list inside Premiere Pro, then just capture the segments you need.
“I’d like to use PPro to command the capturing, but it seems to only give options of 1080 at 23.98p instead of the true 24p. I’d like to use PPro if it has the true 24p option.”
You can do this inside premiere pro, but be sure you want true 24 before you actually do this. In most cases, 23.98 is what you really want and true 24 is not nearly as common. If you really need true 24, you can create a custom AJA project preset. You’ll have to tweak the playback and capture settings too.
“Also, should I set it to capture at 10 bit or 8 bit YUV?”
This depends on a case by case basis. It depends on the speed of your disk array and on the amount of effects work you need to do. 10 bit is preferred if you have enough space and a fast enough array. But if you don’t, use 8 bit and it will save you many storage headaches. The trade off will be if you are doing any compositing/keying, the rendered images may not look as clean. A good middle ground is to capture everything 8 bit, and then sequences that will have effects or compositing done on them can be recaptured in 10 bit when you need them.
“And should I set it for Quicktime or AVI format? (Or even another?) We are using a PC with XP, 32 bit.”
If you don’t care, I recommend using Quicktime. The files are cross platform so if you end up needing to move them to a mac for any reason, you can do it. With AVI this is not the case. Also, the XENA capture can capture audio and video into the same file in a Quicktime, but with AVI the audio and video are separate. This may or may not matter.
“My recordist picked up the sound on two channels; sometimes, we had lavs on one channel and a boom on the other. But I believe the sounds were captured as stereo on all the channels. My question is, should we capture into one channel or two?”
Probably doesn’t matter. This is going to get remixed anyway right? Or not?
“If we need to delete footage after capturing to make more space, what’s the best way to do this? My impression is that PPro will not allow you to delete actual footage from the master. ”
You can delete clips from the disk inside Premiere Pro. This shouldn’t be a problem unless there is something new in CS3 that has changed this.
“Any thoughts on how to set the time code? It might be pretty messy. We didn’t black out our tapes, and the DP did take out the tape at the end of the day before we turned off the cam and then he re-inserted it the next day if it wasn’t used up. We noted much of the timecode, but then we lost the script which noted all the timecodes! That’s why I’ll need to capture everything, so I can go through and log. Besides, I called “print” on a lot of takes that were really safeties. I’ll be using a lot of takes that aren’t really the “prints,” and I’ll have to go through and find them.) ”
This is a pretty big hassle, and could be a giant time killer. Disregard my comment above about making the batch list. You can still try this, but it may fail sometimes. I would try the batch list on the first couple tapes with broken timecode and the captures may still work. If the timecode is at least all sequential, batch captures might not fail even if its not exactly continuous. Try this on a couple tapes on sections where the timecode is broken, and see if it works. If it does, it could save you a huge amount of time.
“Also, any advice on what to do with the dropped frame option? There is an option to not capture frames that are dropped, but I have no idea what the effect would be if I choose that option or if it would be a good idea at all.”\
I am not totally understanding this question. Can you elaborate?
Steven
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Is there a chance that one or more of your scratch drives are FAT32 instead of NTFS? Maybe the preview file is too big for the drive?
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Use your workarea bar to render a little bot of the sequence at one time. It may help you discover which clip is causing you a problem.
Steven
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Did you remove and then reinstall Aspect HD? By the way, you should upgrade to the latest version (v5).
I have never seen an import window do that. Sounds like Windows, not Adobe.
Steven
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It is the player not the encoder. Flash players always seem to stay on the last frame, so that should work for you. My Windows Media players don’t.
Steven
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Doubleclick on it. Don’t drag it to another sequence.
By the way, nesting is an important part of Premiere Pro. It allows you to create extra sequences and then treat them as clips on your main sequence. A very handy thing, but not for your particular task at this time.
Steven
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I thought you could do it by using the workarea bar to export the sequence except for the last frame, which would leave the plater stuck on that frame. However, my Windows Media Player always returns to the first frame.
Steven
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Create a 29.97 project and import the original project into it. Drill down into the bin that gets imported until you find the original sequence and open it, don’t nest it.
Steven