[Trevor Asquerthian]

https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/34751116-audio-timecode-effect

Vote early, vote often

[Trevor Asquerthian]

Are you using any audio plug-ins ?

See https://adobe-video.uservoice.com/forums/911233-premiere-pro?query=Dynamic%20bug if so

[Trevor Asquerthian]

https://www.dropbox.com/s/g3pj0uqoi0htbuw/2%20field%20BARS_import%20as%20709%20to%20get%20full%20range.tif?dl=0

Is the original file as a Tiff – which imports as 16-235 in PP (from memory, not at machine atm). I put this in an AE comp & exported as DNX, flagged as 709 I think

[Trevor Asquerthian]

I believe that PP assumes still images (and video codecs like Animation) are 0-255 and thus maps them to 16-235 to fit 709 legal range. Try creating a 2 frame animation in photoshop (both identical) and export as full range to a codec that PP will assume is legal 709 (Dnx/ProRes).

https://www.dropbox.com/s/aj2mn7ta79pfy8o/2_field_QT%20DNX185%20709.mxf?dl=0

I think has 0-255 range (can’t check ATM) in DNX codec

[Trevor Asquerthian]

And a way it was used, just as regular NLE, at another broadcaster was to build a studio show (slate/titles/bumpers/credits etc) with gaps for studio elements.

The editors would then do ‘drop-ins’ that were the live studio, PA would count to breaks so talent could throw to them. Pick ups easy (talent hear preroll in their ears) as are any camera and audio fixes (isos recorded on other EVS channels).

Very easy to make a show to an exact time with minimal editing. Shame EVS didn’t sell it better

[Trevor Asquerthian]

Thanks for the reply Joe – some interesting links there. I think you are correct that the big iron NLEs will not bother themselves with this, as they are always a bit scared of live (despite being used for live by lots of folks.).

[Joe Marler] “There is no limit to what people will do, but that doesn’t mean it’s a good idea. I personally would never play back material from any regular NLE — even at a film festival — much less for broadcast.”

Sometimes there is only playing live. If you are doing a :20 sports ‘key moment’ that happened a couple of minutes ago, it’s usually safest to play ‘live’ (actually usually slight delay via an EVS so there is a better handle on the playing to air bit of it), rather than exporting it. Adobe’s ‘feature’ where the audio will cut out is always a treat in those scenarios.

[Joe Marler] “the EVS IPEdit product you’re using is not a traditional NLE. It is a broadcast “playout system” with some editing features: https://evs.com/en/news/evs-introduces-play-while-editing-ipedit
“

It’s very limited, but it is a traditional NLE, in that it can do inserts / overwrites / L cuts / J cuts / cutaways etc. There’s no internal graphics, it’s a single video layer, no internal audio mixing and you are limited to cuts / dissolves / wipes, but the ‘replace’ (think preread) function, together with GPIs, gives interesting options. (e.g. if you have access to an ME of a decent vision mixer you can colour correct, add replay wipes, add chyrons etc). We did all of the 2008 Olympics out of two IPEdits, rather than use the $$$ tape rooms we had been assigned. (Well we used the vision mixers / DVEs and audio mixers via replace, so it didn’t all go to waste).

In another show we were delaying a 2 hour live concert (by 15 mins initially). Adding opener, inserting commercials, cutting chat, fixing mis-cuts etc. With 5.1 and 2.0 simultaneously (i.e. 8 channel output). Fortunately the commercial lengths were a fixed length, so I could just set my timeline timecode to time of air and dead roll it. Then anything I put on the timeline would then air at that time. Scary but very cool. Closest I got to editing something before it aired was about 15 seconds, mostly inserting commercial breaks gained us extra time.

[Joe Marler] ” I seriously doubt any of the leading NLEs are prioritizing concurrent editing during broadcast playout. “

Sadly you are almost certainly correct. Although many shows might benefit from being ‘nearly’ live.

[Trevor Asquerthian]

Currently, I believe, they only allow sequences to be opened as duplicate instances effectively.

eg
1. create a sequence and add 5 minutes of content
2. Load that sequence on 2nd PC and hit play
3. Go to first PC and append another 5 minutes

The 2nd PC will hit black at 5 mins regardless of any saving / checking in / whatever done on first PC

If you stop playback on 2nd PC then, of course, you can ‘update from Interplay’ or re-open the bin and get the changes.

I haven’t used team projects or collaborate on Resolve so would be *very* happy if they did offer sequence updates ‘live’ .

[Trevor Asquerthian]

[Joe Marler] “[Trevor Asquerthian] ” I need to be able to play out a timeline whilst I am making edits.”

This is possible in FCPX, see below 60 sec demonstration. “

Thanks Joe but by ‘making edits’ I mean properly making them – as in trimming, inserting, deleting, reviewing, fine tuning, grading, adjusting audio etc. What is shown here is cool, but very limited.

[Joe Marler] “in general you don’t want to play from *any* NLE direct to broadcast — with or without concurrent editing”

Some folks play directly to air from NLEs every day. Some are more reliable than others 😉

[Trevor Asquerthian]

[Walter Soyka] “what using two machines (one for editing, one for playout) with shared storage in an Adobe Premiere Pro team project, Avid bin sharing, or Resolve multiple user workflow”

Ideally they would allow two instances of the app to run on one computer – with different IO destinations.

But I can’t see how any of them will allow one timeline to be edited whilst being played out of a second workstation.

Thanks for the thoughts though

[Trevor Asquerthian]

[Neil Sadwelkar] “There used to be an app that we used many years ago, called PictureReady, to edit shows in FCP 7 as they were being recorded to disk. I find that it still exists but can’t say if it works inside any NLE.”

Ah the Gallery PictureReady / VirtualVtr combo. Used to use that in tape suites!

Still is only a means of streaming media in, not a means of playing an edit live to air whilst editing the same timeline. Unfortunately.

Thanks for the input though.