[Tom Sanders]

Better question:

Can I maintain a user account under my own name, independent of whomever I’m working for and whatever license they may have? ie, use their license when I’m at their facility, and still be able to access and use my own application settings?

How would I set this up?

Tom Sanders
Editor
http://www.tomsanders.com

[Tom Sanders]

That’s easy if the source media for ‘all the important stuff’ is stored in one place, and will be there a year from now when you need it again. That’s not the case here, where the source material are clips from nearly a hundred episodes which will no longer be in their original locations (or even available at all) the next time this project file is needed.

I found a great solution, however, in a blog post here: https://www.thepremierepro.com/blog-1/2016/1/4/hey-project-manager-whered-my-folders-go

It’s a workaround using After Effects, but it accomplishes the most challenging goals: maintaining the bin structure and pulling together all the media from disparate sources.

Amazing that this functionality, which Adobe already has in AE, isn’t built into PP.

Thanks!

– Tom

[Tom Sanders]

Did you find someone for this? Did it work out? I need the exact same thing.

Thank you.

[Tom Sanders]

On this project, we have no linked video / audio. These are all independent mono dialogue tracks.
I tried to recreate the situation by enabling the linked selection button and clicking on a few clips, but the behavior did not re-occur.

What else could cause the behavior I described?

[Tom Sanders]

Ok, I feel stupid. Rather obvious, once I looked at it written out.

Multiclip the left and right; automagically creates the b-cut!
Export qt’s.
Run the qt’s through compressor (with Glue Tools) for the DPX.

done.

[Tom Sanders]

How much bigger do I need? I’m on a 30″ Apple monitor; 2560×1600.

[Tom Sanders]

That would be good if the final stage was this stringout of stills, but this is only the beginning; my job really begins with editing those stills to create a reference movie for animation. So, I need each panel as a discreet piece of media. I think Malcolm’s solution still comes out ahead.

But thanks for the ideas; I might find a way to put your workflow to work elsewhere.

[Tom Sanders]

Hi Dave,

Malcolm’s answer is brilliant, I think. I’ll experiment with it today.

To answer your question, I’m cutting an animated feature and the first phase is to edit what’s called a ‘storyboard movie’ (basically thousands of drawings provided to me as TIFF scans). I used to simply import the TIFFs directly as stills into FCP, but FCP rapidly bogs down when you get to thousands of stills in a sequence. So I had the idea to convert the stills to quicktime media before I import. For the low-res period of the project, DV seems like the way to go because I get the best system performance.

So, for Malcolm’s workflow, I’ll set the stills duration at 2 seconds, import a batch of stills, then export the resulting movies and poof, I should have 2 second media for each panel, which I’ll re-import and be good to go… one hopes.

Tom

[Tom Sanders]

Sorry to bump this old thread, but…

Mike,

What did you wind up buying, and how did it work for you? I have the same Mac Pro and need to upgrade it to work on a large format project involving 1920×1080 sources and a sequence output at 3840×1080. So I need firepower, on a budget.

Thanks,
Tom