Tom Laughlin
Forum Replies Created
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Thanks for the advice. I ended up exporting both a Pro Res 422 out of Premiere for a master file, and also exporting an M2V, and they look great.
Tom Laughlin
Adobe Certified Expert, Premiere Pro CC
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
I have found an very easy solution that worked for me – to get rid of your danger stripes, and do this without all sorts of linking and relinking by copying files or moving files over.
1. When you open the edit like this example, often times, this window pops up, and notice all of the default boxes below are “checked”:
2. You click “Locate”, and you navigate to whre your media is located, then hit connect media, and this is what you see now:
CRAP! Now what?! You see all these danger lines huh? Well, it is because Premiere is trying to use default settings to interpret your media’s TIME-CODES, not your actual MEDIA FILES or FRAME-RATES. This is easy to fix. Let’s fix it.
3. Go back and re-open your project, liek we did before, see here. But this time, UNCHECK these boxes: “align time-code”, “Preserve interpret footage settings”, and “file extension”. Click “locate”, navigate to your media, and simply relink the media.
4. Once you open your project, the project will ignore what it wants to default your time-codes to, which can be incorrectly interpreted. Rather, you tell Premiere to revert to the time-code that you had originally established. This fixes the clip’s time-code placement, where the clip’s time-code is on the timeline and the in and out points.
Hope this helps you all, as it worked for me.
Thanks,
Tom Laughlin
Adobe Certified Expert
Premiere Pro CC
Salt Lake City, Utah
tlaughlin@digitalchophouse.comTom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
It seems that if or when Premiere is used on a film, there is this big push to quiet that news down, or boast it up for marketing. I wrote into “American Cinema Editor” magazine and told them that it felt like the magazine was not being as editorially equitable towards Premiere, versus Avid. When Deadpool came out, there was a streamlined workflow that was highlighted in many Adobe sponsored interviews with the director and the post supervisor, Vashi, and yet how quickly a rebuttal came in next month’s ACE magazine about how there were so many problems with the Deadpool (Premiere Pro) workflow. I’m only mentioning this because, it seems like there are actually a lot more editors now on Premiere in Hollywood, I suspect, that people are saying or noting, but I could be wrong. I do think for the block-buster films, there are seasoned traditional editors who’s entire life having spent on Avid, have the reputation to carry the Avid workflow and name. It really does feel back and forth on several levels. There is a huge post house here in Salt Lake, known as an Avid post house, and I know for a fact a majority of their editors are cutting on Premiere. So, it’s interesting to see the status of the industry right now. And thanks everyone for your comments, and future comments!
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
Footage shot on a Canon XF100, 1080p, 50MB/s, 29.97fps, MP4.
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A great resource on this is StockFootage.com, out of Utah. John Farr with Creative Media Group, who owns this stock footage website and business can help you with your questions on this topic.
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
I absolutely agree, sliders are cool, but not necessarily needed for every interview. It seems like there are a ton of very young filmmakers who are pushing gear, and though very cool, you need to ensure you are using it with a purpose, and not just using it to be cool, or be trendy. The other thing is, everyone’s stuff starts all looking the same, as everyone wants to stand out, me included, you start seeing a ton of the exact same types of slider interviews, and some of what is being said, doesn’t seem to warrant such a set-up. But in the case of James Cameron and George Lucas, where there is significantly profound ideas and discussion going on, then yes. But an interview with a slider, where your buddy is saying how great of a film course you have made, is not maybe the best reason use the slider, but I could be wrong. Two rhino sliders at $1100/slider, I would imagine that the tutorial video takes point on some product placement for sure, and rightfully so, cause it made me want to buy one! Thanks for everyone’s comments!
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
Literally the day after I posted this question, I ran into this same video, so thanks for sharing!
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
This might be a graphics card issue. Check that, or update graphics card utility? Every update, Adobe lists the updates their ‘supported’ graphics card lists. Also ensure GPU-acceleration is turned off, and see how it functions for a while. Adobe changes the system requirements often, so check those minimum requirements. I’d also re-install Premiere CC, or check and ensure all your plug-ins are up to date. Red Giant and others aren’t always up to date on CC, so maybe a plug-in or filter, applied, to your footage, that plug-in may be needing to be removed, or check on plugins versions and if they’re compatible, with the new updated Premiere CC. And I always wait, before updating, never mid-project. Always after or before project starts.
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
A couple of things I usually try:
1. Error message usually has a time-code, it will say something like “Error at 14:40 render effect….” So, I will usually post a picture or screenshot of the error, which helps others on this forum, figure out what it wrong exactly.
2. Find the area(s) of concern, sometimes noted in the error, I go into the timeline, delete and reapply the color correction or filters on the clip, and then re-export.
3. Find the area(s) of concern, delete, reapply filters, but then, try setting in and out points around the affected area(s), then rendering then, so they are green, the re-export.
4. Change from ‘GPU acceleration’ to ‘software only’ in your render settings.
5. Render the entire timeline first, then export. IF it does not render the time-line in certain spots, it’s probably an affect or filter, that your computer doesn’t like, or your graphics card. Sometimes, you have to play around with deleting and re-adding affects or filters and rendering. If the entire time-line does successfully render, and everything is green, your export should work ok.
6. Export it out using a different export setting, like “High Bitrate”, the default, or use another export setting like “YouTube 1080p” or set one up that best works for your client. Leave your frame-rate the same, but change bit-rate or file output if needed, it’s up to you, but what I’m saying is, sometimes, Premiere doesn’t successfully export – because of the type of file your trying to export it to. Certain types of H.264 files types will not export on a PC, or on a certain graphics card, but it will work when you export it on a Mac or using another graphics card.
7. Delete media caches, restart computer, check for any computer issues or quirks.
8. Copy your time-line, and paste it into a brand new sequence, within the “same project”, and try and re-export that new sequence.
9. Copy your time-line, and paste it into a brand new sequence, within a “new project”, and try and re-export that new sequence.
10. Save project on an external drive, take to a friend, make a duplicate copy of the Premiere Project, give it another name, like Tom’s final edit_export text”, then have your friend open it on his computer with his version of Premiere, and have him export it for you. See if it works ok.Hope one of these helps!
Tom
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
Anyone use Camtree Matteboxes?
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com
