[Tod Hopkins]

AJA, Blackmagic, and others sell external I/O via thunderbolt (or USB). That’s the obvious path if you need SDI or analog connections to other devices. Many of us don’t need that anymore and simply want dedicated monitoring. I’m told, but have not tested, that if you connect multiple monitors directly to the Studio, and look under Preferences>Playback, you will see the additional monitors listed under the Mercury Transmit options in the Video box. Select one and it will become your full-screen playback monitor. Apparently, it’s that simple.

Cheers, Tod

[Tod Hopkins]

When you shoot at any framerate, the camera adds metadata for that framerate. That’s how the NLE knows what the “correct” framerate is. Since you shot at 50fps, the camera has set the video metadata to 50fps. Premiere sees that data and adjusts the clip playback in the timeline so that it runs properly against real time, as Tero has described.

If you want something to run at half-speed, you can either change the clip speed in the timeline (Speed/Duration or Time Remapping), or you can tell Premiere to change the assumed clip framerate using “Modify>Interpret Footage.” Interpret changes the clip itself and must be changed prior to putting it in the timeline.

[Tod Hopkins]

Not directly familiar with that problem but I have had trouble at various times with smooth playback of multi-track audio from camera sources, even when Premiere is not actually “playing” all tracks. It apparently still insists on decoding them. Proxies wouldn’t help if you retain all tracks. In these cases, I transcode the tracks I need to stereo sources.

[Tod Hopkins]

Master to 29.97p and then transcode to 29.97i. The easiest transcode there is and it should be indistinguishable from the 29.97p as long is it is being played via a true interlaced system (which is nearly impossible outside of an old school post house). You can also playout the 29.97p original to an interlaced recorder if your destination is tape.

I highly recommend you never go the other direction, from the 29.97i back to 29.97p, or playback the interlaced file anywhere in the real world as almost all playback systems will “deinterlace” the image at some point. This should result in a perfect progressive image if the fields are simply re-interlaced without processing, but in my experience it often results in a somewhat degraded image due to unecessary processing.

Cheers,

tod

[Tod Hopkins]

I’ve been irritated by this for years. I’m replying in the hope that someone else has some clever trick.

[Tod Hopkins]

I don’t know if you’ll be able to “convert” but here’s a way of experimenting with character sets. Get BBEdit. It’s free. Open a new document. Drag and drop your folder into the document window. BBEdit will create a text file listing (this feature has saved my bacon many times!). Now you can “Save as…” and in the save dialog there is a selector for different file sets. Start with Unicode-16 which supports both languages I think. Experiment. You may need to experiment with the system set to Chinese.

I’m not exactly sure what you might discover and you may ultimately need a “translator” to retype the filenames using a different character set (Unicode). Or you may be able to create a document that a translator can use to translate your filenames to English/Latin so you can cut and paste them back to the files.

Ultimately I suspect you will help from someone with at least some Chinese expertise.

Cheers,

tod

[Tod Hopkins]

I can’t answer from direct experience, but you should start by adding a Chinese language, probably Mandarin, as a OS language option.

https://support.apple.com/guide/mac-help/change-the-system-language-mh26684/mac

Doing this will add a Chinese language character pack which may allow the Mac to recognize the unknown Chinese characters even when the primary language is set to English. But maybe not. It’s possible that you may have to switch the current language to Chinese to see the proper filename. As you probably know, text characters are not encoded in a specific language. They are numeric codes that are interpreted by the system according to the language set selected. The question marks indicate a code that is not recognized.

Report back your results. I’m very curious.

[Tod Hopkins]

Quite useful for high-volume original projects shot to a consistent standard over time, which is bread-and-butter for many. It’s simply not appropriate for those of us who don’t work like that.

[Tod Hopkins]

So, not a dental floss tycoon?

[Tod Hopkins]

Assuming your primary delivery is 1080i59.94, and your system can handle it, you might edit at 1080p59.94 and then output at 1080i at 60 and 50. I’m not entirely sure the end result will be better than editing at 1080i (your best alternative) but I suspect it will. This is the “biggest container” principle. 1080p60 is “bigger” than any of your source formats so no data loss on the way in, minimizing loss in the process and on the way out. Plus, Premiere does not handle frame rate conversions optimally in the timeline, so “uprezzing” to 60 and then converting to the target framerate using encoder tends to work better.

Only peripherally related, I’ve used 60p mastering as a method for “deinterlacing” 1080i, though you have to actually deliver at 60p for this to work properly, which is still not routinely possible.

Also you’ll need a system capable of managing a 60p timeline.