Tim Kolb
Forum Replies Created
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There are several ways to approach this, obviously.
The tradeoffs are that Photoshop can make changes to layers if you’ve committed all your titles to a layered document…though you’d still have to address each layer individually unless your layer “styles” (textures) etc are on a layer floating above the text layers, adding layers in a Photoshop document containing all your lower thirds can affect layers already imported into PPro.
The Title tool inside Premiere Pro can create looks and styles that would be very time-consuming to duplicate in Photoshop…not to mention how quickly those parameters can be altered in the Titler…not to mention that you haven’t left Premiere Pro to create or change the titles.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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If you want to see what can be done with Premiere Pro’s “standard equipment” title tool, you might check out style4type.com where there are a lot of free templates.
You could also check this out: https://youtu.be/LGWZrRjrURk
Basically, yes, the (on-board) titler is very capable.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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So really the question probably is why CineForm’s converter will read the extracted files and why Prelude won’t…and why Prelude ends up messing with the TC.
If the CineForm codec is on your machine, you can probably choose it as a destination from Prelude and do a test to see if the TC is messed up in that file…or test any other codec as an output from Prelude…
I have my doubts that the problem is in the codecs…it’s more likely in the difference in conversion method.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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I assume you are using the GoPro CineForm Studio to convert to CineForm?
…how are you converting to DNxHD?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Yes, Jeff makes a good point that I didn’t even think of…but not transferring media from camera media to hard drive IS still a recurring issue…
I’ve never seen any software manufacturer instruct someone to extract only the .mts or .mp4 (or whatever) files from a camera’s data structure…yet I still get this kind of thing sent to me 2 or 3 times a year.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Importing those files through the Media Browser is usually the answer to this type of thing.
The file segments should all come in as one file per each record start/stop.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Chris Robinson] “This is the same device used to create and produce the movie Avatar so I don’t know how we can be over utilizing it on one render. Again, I will check. Thanks for your time. “
Yeah…I am…NOT…a networking expert in any way, so the last thing I want to imply is that some component in your system is somehow inappropriate, under-spec, malfunctioning…or even unpleasant to look at.
🙂 …because I don’t know.
All I’m offering is the process that Premiere Pro is going through when these functions are happening to hopefully help you troubleshoot.
Keep in mind that targeting the preview video and audio render files to a local disk may not be the worst way to at least deal with the issue in the short-term to keep things working…
Good luck with it.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[EricBowen] “Media Encoder has a separate list last I checked so you would need to enable that GPU for the hardware acceleration on export.”
True…in CC, you’d want to track that text document down as well…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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I don’t know of anything that would go to that resolution in a motion file. You would have to export a frame sequence.
In any case, I find it hard to believe you would have a computer system that was capable of playing it back anyway.
What I’ve done before is take the individual screen sizes and make a sequence for each…then nest them into another sequence and arrange them the way the wall will be configured by scaling them down, etc.
When all the component timelines are sync’d up…you export a clip for each screen from the individual timelines.
…I’ve done this before for a wall of iPods (sticky business…I don’t recommend it).
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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If your scratch disk locations are on the NAS…that’s where you’re rendering to…
A preview render is mechanically the same process if your scratch disk destination device is the same as your encode/export target device would be.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor