Tom Laughlin
Forum Replies Created
-
Doug Jensen with Vortex Media has released online Sony FS5 and FS7 training, that may or may not address your questions, however, I’ve always searched his website, Allister Chapman, and Philip Bloom’s blog, and website.
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
Does anyone else have any thoughts on off-brand or on the cheaper “matte-boxes”?
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
I’m not positive on this, but there maybe some forums with workarounds, or even an Adobe patch that might fix the problem? I’ve also heard that Adobe can and has set up a special software exceptions with certain vendors, who are running locked and offline versions of Premiere. I’m still uncertain how they’re doing it, but Premiere 8.1 is booting up, and working, and I’m not connected to the cloud at all. The other day, at home, Adobe ran me into an issue for where could no longer open projects in Premiere 9.2, they wanted me to run a permissions update, in order for me to open my proejcts, instead of seeing an error saying “this project contains a sequence or codec with no data”, so I ran the permissions update, which was really a Premiere Pro app update in disguise, then, after the permissions update ran, I realized what had just then happened, the latest version of Premiere was on my machine, but my previous versions of Premiere: v6.0, v7.2, and v 9.2 were gone! I was left with opening up my projects in the latest version of Premiere, v10.4, and thank heavens, it all opened right up, and everything was all there as if nothing happened. It’s very frustrating that various problems like this and others are occurring, and many of them are inconsistent across computers and software versions. There are days I wish we could run software like we did with FCP7, no cloud connection or no cloud at all.
hope you find your solution.
Tom Laughlin
Producer/Editor
Salt Lake City, Utah
digitalchophouse.com -
Free 5-hour training with Larry Jordan:
https://www.youtube.com/watch?v=WIk1yzn0flIOther courses online:
https://www.creativelive.com/courses/adobe-premiere-larry-jordan
https://www.udemy.com/adobe-premiere-pro/
https://www.rippletraining.com/products/premiere-pro-training-tutorials/editing-in-premiere-pro-cc-2015/ -
Michael, is Sony Catalyst Browse free or a paid software? Is it just like the “Sony Clip Browser” one used with Sony’s EX-1’s? I would use Sony Clip Browser to copy the SxS cards, because of the “CRC” check. I didn’t really use XDCAM Transfer much, unless I needed .mov files, but since I edit in Premiere, I would just import the raw SxS card, and start editing. I’m editing on OS 10.9.5, and “Sony Clip Browser” is not longer supported, so I’m also looking at a new replacement for “Sony Clip Browser”. Sony Catalyst Browse basically the replacement then for you?
Tom Laughlin
Producer/Editor
Digital Chop House
Salt Lake City, Utah
http://www.digitalchophouse.com -
I’m not an expert on this, but can offer a few suggestions:
1. Drag your uncompressed 24p master into MPEG StreamClip, convert to 29.97, and see how it plays.
2. Convert your 24p footage to 29.97, and save to a separate folder, duplicate your sequence, and then reconnect your raw media folder to the 29.97 folder, render, export, and see how it plays.
3. Broadcasters are getting more and more mixed video every day, so rather than converting from 24 to 29, see if they’ll take just 24p. Or, what I’ve done in the past is, if they want 29.97, let their own techs fight this issue out. Send them the 24p master, let them convert it, or, beat themselves up over it, but in some cases, they may just take it in 24p.
4. Export your 24p sequence directly out of Premiere, at 29.97, see how it plays.
5. There are more expensive routes others have taken, involving taking it to a post production conversions house, where they do a more expensive and it’s like a true frame-rate algorithm conversion or something that takes time and money. I heard about this problem on “Meet the Mormons” documentary, when they were using mixed footage and FCP7, and they ultimately had to do a “hardware frame-rate conversion”, rather than a software-driven frame-rate conversion”.Sorry if none of this helps,
Tom Laughlin
Producer/Editor
Digital Chop House
Salt Lake City, Utah
http://www.digitalchophouse.com -
From what I understand, once you drop the clip into a sequence, it will ask you if you want to match the sequence settings to the footage, click yes. You can edit h.264 natviely, and output to proress with any issues. Just ensure frame-rate is the same, and check the color on your final output at the end of the edit, when you export. Sometimes, exporting to prores, I’ve had some color look slightly different, but not that big of a deal. There are a ton of videos on YouTube as far as best ways to export to ProRes, but for me, best quality and frame-rate is the most important for me for exporting. Theatrical release and acquisitions people may want to a different format or flavor of ProRes, so I’d check that as well. Future congrats on your theatrical release !
Tom Laughlin
Producer/Editor
Digital Chop House
Salt Lake City, Utah
http://www.digitalchophouse.com -
When your render files go offline, when you open the project, it will report any unlinked or missing media, you re-link before the project even opens, including media render files. When you rendered before, it renders to a folder, find that folder, and re-link. Sometimes when the exact chain is broken, it won’t see them. This also means ensuring all folders are named the same, from one computer or drive to another, to ensure seamless media and render file re-link. Render files stay put, they don’t move, so I would check and ensure all folders, folder names, and files, and file names, are exactly the same. You can also try consolidating render files, by taking all your render files, and copying all to one single folder. Render files are placed in folders, according to the project name, and or date, every-time you rename your project, for example, new render folders are created.
So, open all past render files are in folders associated with the project name, if the project has never been renamed, then it should be just one render folder. If it opens fine on one machine, with everything on an external drive, it should re-link fine. If you open the project on another machine and render files do not re-link, there’s something being saved in the wrong place, recheck all links or broken links back to the render files, and reverse engineer the link to the render files. Or, the other solution is to re-render on the new machine, and ensure render files are saving to the right spot on your external drive, and not some default place Premiere designates, you manually select the specific folder you want all new render files to render to.
Render the whole thing once more to one folder. During the rendering, you can access the render folder, and watch as the render files populate with time and date. If nothing is populating in the render folder while it is rendering, re-check where in the heck those files are going. Once rendered, your render files on your external should, in theory, link to the your project, so regardless of any computer you open it on, the render files should re-link. Every time you move to a different machine, the computer may not detect (at first opening) the project’s render files, but usually it does, but if it doesn’t, you only should have to re-link the render files once.
Sorry for the long response. I’m not sure if it could also be a media cache issue, try cleaning your media cache. I’ve also seen editors check the box “Save Cache Files to Originals When Possible”, so I don’t know if this would help or is related, but maybe or maybe not.
Tom Laughlin
Producer/Editor
Digital Chop House
Salt Lake City, Utah
http://www.digitalchophouse.com -
Tony,
I had this happen a few times with my Sony EX-1, a few years ago, when my DI guy would pop cards out of the camera, sometimes at random, while recording was happening, but also, there were several who were transferring the BPAV folder, sometimes, not copying the entire folder, ok, ok, so my point, we had several SxS cards that had media that needed to be “Restored”. Sometimes, we re-inserted the cards into the camera, and the media would auto-restore with the card simply being re-inserted, the camera would then perform a “repair”, to files that were not finished being written or that had become corrupted. Sometimes, this would work.
The other work-around was, we would copy the media (entire card w/unstable clips), and we’d copy the entire root BPAV folder to an external hard-drive, then copy that same BPAV onto anther SxS card, then re-insert that card into the camera to see if we could get something to repair internally. If the file was written in it’s entirety, yet not reading, that was what we would try and do. We would also, in some cases, if cards were copied incorrectly, we’d try and manually reconstruct the root folders contents, to try to trick the media into being readable. With some problems, this would totally not work, because critical data files are written while in record mode, meta-data, cache, etc, which you really can’t re-create. If the file was not fully recorded, there is virtually no way that I know to bring media back, that didn’t record completely. We also would use Sony’s Clip Browser to view clips, and if there was anything readable from within Son’y card-ingesting software. Card problems were really trouble-shot on a case by case basis, so, what may have worked on one SxS card, may or may not work on another card. Even so, inserting the cards back into the same camera that the card media was shot on, there may have been something that that camera did, or did not do properly, regardless the battery failure, so we would sometimes, try inserting the card into another camera, to see if that camera would or could restore the media or pull up any thumbnails.
Sometimes, I would even try the VLC player, or MPEG StreamClip to open media that was unstable, and for me, that was the last resort. If those two media players could not open or even play the media, that to me, certified the media as corrupted beyond repair. I’ve heard of people sending cards or media to Sony directly, as Sony may have some tools to be able to repair the media, but usually Sony can help, if the media was in fact shot on actual Sony media. Any other cards or media cards, Sony would probably not be able to assist you with. In the case of shooting on SDHC cards or SD cards and adaptors, Sony would not be able to help, but for me, if media was shot on Sony SxS cards, they would try a few things, but I cannot say this for sure. I can only say this, based on past posts about this type of trouble-shooting with media and cards.
All in all, none of this may help you at all, but just wanted to suggest a few things in general.
Thanks, Tom
Tom Laughlin
Producer/Editor
Digital Chop House
Salt Lake City, Utah
http://www.digitalchophouse.com -
Thanks Leslie. I’ll check on that.
Tom Laughlin
Producer/Editor
Digital Chop House
Salt Lake City, Utah
http://www.digitalchophouse.com