[Tim Kolb]

I would be careful with crossover cables.

They have very specific uses, even in networking. (The only time I’ve seen one used is when creating a peer-to-peer connection between two computers without a hub.)

Since 6 pin FW carries power and getting a 6 pin FW cable plugged in with the connection rotated 180 degrees will fry a 4 pin FW connection on a camera…I’m not certain I’d try a crossover cable before at least trying a straight through pin-out cable.

It’s hard to believe that there is no data on these cables so you could avoid having to guess at it…

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Keep in mind that low RAM means a LOT of disk caching/swapping…and a slow processor means a lot of SLOW caching/swapping. A low core count means slow decode/encode of source and target video files…not to mention internal transfer speeds…etc, etc.

So…yeah, a severely under-powered computer could possibly create unbelievable task dwell times as all these things don’t just add to… they multiply the problem.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I think the most likely scenario is that you’re running out of space someplace during the encode…most likely, Ann’s point about the temp files is the first place to start.

For some long GOP encode targets, a very large, rendered file used to have to be created at the beginning of the process…this used to happen in Encore when running the final encode, I’m not certain how that may be handled running out of Premiere Pro in every version…

I’d make sure the system drive is as cleaned out as possible…clean out all the temp files…get rid of anything on there you don’t need as the intermediate file for a two-hour edit is likely gigantic.

You could also try to export the project in segments and set it up in Encore to just play through each segment and continue on to the next one so that the encoding step takes smaller ‘bites’…and therefore makes smaller temp files. It sounds like if you have room for half, you could create 4 segments and be set to go.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Thanks for that…I don’t use dual-system sound on a daily basis, so I didn’t realize this limitation existed.

Something that obviously limits the usefulness of the feature unfortunately…

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Unfortunately there are a lot of CC2015 issues that seem to have the same story (“it doesn’t happen in CC2014”)

It’s why I always keep the earlier versions and never install over the top of the previous one…and rarely move to the newest drop for actual work as these updates are becoming very rapid, and I can’t help but question if there is indeed enough time for thorough testing in every case.

My personal recommendation: stick with CC2014 if it’s working properly and give CC2015 some time to be patched.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Unfortunately, the motion scale is setup for percentages. If your clips are different sizes to start (I assume this as otherwise you could simply match percentages…), you could always make yourself a quick ‘jig’ in the titler using a couple rectangles or some other guide for comparison.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

First off…you certainly CAN add video or audio tracks to a sequence once it’s created…you can’t reformat the master output of a sequence is, I think, what you meant to say.

I’ve run into this issue before. The ProRes preset probably needs to be customized (I have Windows at home and Mac at work, so I don’t have the Mac in front of me)…I’m not certain what the audio preset defaults to, but I know that AAC for one, doesn’t have the multitrack flexibility that you’re looking for.

On my Windows machine, I can set for a QT output (not ProRes of course) and then go into the audio tab and change the ‘AAC’ audio setting to ‘uncompressed’, and then I have the capability to choose as many audio tracks as I want (assuming a multitrack master sequence).

You may want to see if you can handle it by doing some custom setup on the audio in the Export/Media Encoder dialog.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I would guess that you hit a point in the timeline that has some effect or other manipulation that is a harder process…

The reason the projection is inconsistent is that the projected time appears to be calculated based on the time it takes to build the current frame multiplied by how many frames have to be exported.

The process itself has no idea if 100 frames from now there is a 4 layer deep, green screen keyed, cropped, color corrected, dynamically linked AE comp, so it assumes those frames will take as long as the current frame, which may be largely unprocessed with a lower third…so it has to recalculate.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

I’m not certain I’m completely following your description, but it would be somewhat expected that moving a cropped clip vs an uncropped clip might be easier as cropping is eliminating whatever pixels you’ve cropped from the processing.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

If I had to take a guess, the typical networking cable may not be set up as a pin-to-pin match as the 568A 10baseT standard didn’t even utilize half the wires so many premade cables didn’t even have them.

You may have to make (or have someone make) you cables that are a full 8 wire straight through configuration. I’d have one made and check it to see if it works first though…

TimK,
Director, Consultant
Video Producer at I-CAR