[Tim Kolb]

When you back to the project settings, does it still show the previews targeted to the custom location you specified, or has the setting reverted? (i realize you’re saying the previews aren’t going there anyway…)

Off hand, I’m wondering if the custom location has some write permission limitations that are kicking in whenever you close and re-open Premiere Pro…but it’s just guessing.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Doesn’t it do the analysis immediately when you apply the effect?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Machine specs?

Type of footage?

Software version?

Throw us a bone here with some info…this is like “my car doesn’t run”…it could be that it’s out of gas…or at the bottom of a lake…critical information is in the details.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Once the dissolve is placed, you can scale the length symmetrically by drag-trimming either end and both ends will scale…holding down shift while dragging the edge will trim only one edge.

I suspect the issue you may be having is that one clip is at the end of the physical file media and there are no frames to use beyond the trim point to enable the transition to span.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Well…first off, the nesting route would just be dissolving the sequence clip to itself…so the master clip has cuts and you’re just dissolving the same content to the same content.

Second…the placement of the transition works the same way it always has. If you have 10 frames of available media on each side of the cut, a 20 frame dissolve centered on the cut is created the same way it always has been…when you drop it, it will snap to the three postions from the cut…ending on, centered on, or starting on, providing there is media available.

Third…transitions on the end of a clip (not on a cut) have never been able to extend beyond the point where there’s media present, so I guess I’m not following the change you see there…

Transitions that actually have settings and parameters still show up in the Effect Controls panel for custom adjustment.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[john mahoney] “but in premiere i get no quicktime codec options.”

Keep in mind that Premiere Pro sequences don’t work like FCP7 sequences did. The codec attached to the preset doesn’t govern what footage you can use on the sequence. The only ‘native’ attributes of the sequence are the frame size, the frame rate, and the pixel aspect ratio.

That said, many presets in the CC versions of Premiere Pro have configured the preview render format for certain sequences to render in the sequence’ preset stated format, which makes the format’s namesake preset inherently most compatible for smart rendering, etc.

For instance, the XDCAM-HD422 sequence preset has that format as the preview render codec vs a RED R3D preset, which can’t have the R3D format as a preview render as the computer can’t write that format. Mac users can choose ProRes as a preview codec if the Mac has a Pro App installed that has the write version of the codec…Windows users don’t have the Apple QuickTime ProRes write codec. (the conversation continues about experiences with compatibility with ‘generic’ Windows ProRes variants like Cinemartin, Media Reactor, Miraizon, etc.)

Since Premiere Pro will read nearly any codec your computer has installed, regardless of the presence of a labeled sequence preset or not, all you really need to know are the frame size/rate and pixel aspect to set up a sequence that will work most smoothly.

You can also drag and drop a clip onto the “new item” icon to create a sequence, but this can be particularly confusing as if there isn’t a clear preset specifically for the format of the clip, the software simply does a search for the first preset compatible with the clip’s frame rate/size and pixel aspect and uses that. This does throw former FCP users especially…

On Windows, 1080p ProRes will typically spawn an ARRI Cinema sequence as it’s the first compatible preset in the list alphabetically, with ProRes 720p or 1080i frame sizes/rates you would end up with an AVC-Intra sequence.

I would like to see Premiere Pro simply make a custom sequence setup when creating a sequence based on a wild-card media clip as I think it would cause less confusion than launching, what appear to be “mislabeled” presets, but the presets PPro chooses are compatible and not a problem.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I’ve not heard of anything like this, and Adobe has always said Premiere Pro works with Red Rocket, but with the newest versions of Premiere Pro being set up with de-bayering on the GPU in mind…is it possible there’s some odd conflict with this format between the Red Rocket Card and the GPU?

Are there newer drivers for the Red Rocket, the GPU…or both?

…just kind of spit-balling here…it’s been a long time since I worked on a Mac daily.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

When you are comparing the two applications, is one using linear light and the other not? The sequence settings in Premiere Pro is where you can switch that on/off.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

What if you scale the adjustment layer(s) to 101%?

The adjustment layers take on certain attributes from the layer underneath unless they’re directly adjusted with their own position/scale input.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

The performance wasn’t as snappy with CS6 as it is with CC when using ProRes (playback/source of course) on Windows… I don’t know if the Mac platform had similar issues…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor