Troy Murison
Forum Replies Created
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So you must be using a older version of Premiere- what version is it? I know v2.0
had that feature (not Premiere Pro) but I can’t remember beyond that to v3, 4 or ?
as far as that feature…As for that, I would be somewhat skeptical about it working well. Also, the
downconverts are going to have 29.97 TC on them anyway so it still won’t get you 24 fps
code. Having window dubs is a good idea anyway though, especially if your downconverts
are letterboxed- it’s a natural place to put the window and you can always crop it off
if you want to show the cut without the code. That could help in the conform process for
reference too if there are issues if you decide on the 29.97 to 23.98 process.If you are on a Mac anyway, FCP with Cinema tools might be a way to go if you want to
maintain a true 23.98 editing setup though.-Troy Murison
Seattle, WA -
We have done lots (and by lots, I mean LOTS) of projects where
the offline is done with 29.97 downconverts and edited in a 29.97
project. Then the resulting 29.97 EDL is converted to 23.98 before
final assembly from the original tapes. This works fine given you
have a utility to convert the list. What gets hard is checking
the resulting conform against the offline- two different frame rates
mean you can’t have them co-exist on the same timeline to overlay
or split screen them in most systems. These areas are where
Premiere falls down a bit. But the 29.97 edit, convert to 23.98 to
conform route might still work if your finishing folks are
comfortable with it.As for capturing and editing at 24 from DVCAM, Premiere Pro
doesn’t have a utility or ability to remove 3:2 pulldown on capture
or afterwards. What would be ideal is for the pulldown to be
removed on capture resulting in true 24fps editing. This is what Avid
Film Composer does. It requires a constant 3:2 cadence (not usually
a issue for film dailies/transfers) to do this. FCP can do this
via Cinema tools as well, but it requires post-capture processing.Long story short, consult with the folks who will do the final
conform. They will likely have dealt with these issues and have a
system in place to handle it and/or have a preference for how you
start to edit your project.-Troy Murison
Seattle, WA -
The quickest way I’ve found is to (not fun) go to each clip, select, copy, mark i to o,
overwrite, then paste attributes to get filters and settings back. What that does
not help with is transitions- there’s no way currently to keep them. What I usually
do is to actually edit the new clip on a track higher than the originals, that way
I have a ‘guide’ track below to help me replace/realign transitions. Please place
a feature request with Adobe for a ‘replace’ feature to do what you ask. That’s high
on my personal list of WIBNI’s!-Troy Murison
Seattle, WA -
FWIW, we’ve never been able to get a AAF from PPro to Avid
(Xpress Pro HD, Adrenaline or |DS) with any sort of consistency.
We’ve done lots of testing both ways (Avid to PPro and vis-versa).
We’ve found that Avid’s AAFs are not completely compliant with
the rest of the industry’s AAFs and there’s not much anyone
can do about it. Quantel found a solution recently (we have
several eQ’s here) but they had to do it on their own from what
I understand. Avid wasn’t about to help them out and take away
their workflow/profit center between Avid MC line and |DS.Wish I had better info or helpful info for you, but we gave up
a while back.-Troy Murison
Seattle, WA -
Ken,
No problem, just contact me when you’re ready and I’ll give it a shot.
-Troy Murison
Seattle, WA -
Ken,
If you still need this done, you could email or post the EDL and I
will convert it for you. Not tried it to PPro before, but we do
that all the time here with a utility we have from Quantel and it
works well.-Troy Murison
Seattle, WA
http://www.flyingspot.com
troy@flyingspot.com -
Does anyone know yet- will this allow other apps like AE to use
the footage natively too? Is it just adding a DVCPro codec to
the AVI/Windows that’s accessible by other apps? If so, that’s
even cooler!Also, does the converter app handle the variable frame rate flags,
etc.? Otherwise PPro is a little out in the dark unless it was
shot with the N mode and the resulting converted files are tagged with
the appropriate frame rate. Anyone know for sure?-Troy Murison
Seattle, WA -
This all sounds to me like a RGB to YUV encoding error. If you rendered
the output from AE as a RGB file (QT animation, RGB, etc) then PPro is
having to interpret that as YUV to output in a DV project. It sounds as
if PPro isn’t doing this correctly. Have you tried rendering from AE as
a DV-AVI file? Try it w/o the alpha if you have to just to see if that
makes a difference. I’m just guessing, but that’s what it stinks of to
me…I just re-read the above posts:
But you did say that a QT animation file didn’t have the problem?
Hmmm, now I’m not sure….-Troy Murison
Seattle, WA -
Wes,
I just tried this in PPro 2.0 and the usage updates properly.
I realized however that I don’t have 1.5 installed here any more
so I’ll have to wait ’til I get home to test that.-Troy.
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Hey Wes,
Have you tried restarting PPro? Maybe that will force a refresh of the
project window? Don’t have any other ideas… I’ll try to do a test
with a large 1.5 project later…Hope your summer is going well!
-Troy Murison
Seattle, WA