Vashi Nedomansky
Forum Replies Created
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Hi Michael,
I would upload an h.264 with at least a 50 Mbps data rate or even better export a ProRes Proxy file. Youtube will re-encode whatever you upload so start with as big of a file as they will take for best quality. Hope that helps.
Vashi Nedomansky
Film Editor
VashiVisuals.com
@vashikoo -
I agree with what Oliver suggested. If you are cutting in a 4K timeline and have issues…
then copy paste your whole timeline and dump it into a 1080 timeline. Even with effects / layers etc
this should allow real-time playback on just about any system. Worst case scenario is to set the resolution
to 1/2 in the 1080 timeline.Edit with this timeline and once done…copy + paste whole timeline back to the 4K timeline and step away.
Since Premiere Pro is resolution independent…sequence size (4K / HD / 720) doesn’t matter. It will scale
accordingly and you just copy + paste back to the highest resolution sequence when done.
Real-time playback with the director and instant feedback and on the fly changes are essential
and I’ve never had a project where I did not have to provide this basic need to a director / producer.Vashi Nedomansky
Film Editor
VashiVisuals.com
@vashikoo -
Hi Jonas,
Ann addressed the single track height adjustment and I have the solution for waveforms.
Under the “hamburger” stacked icon next to the sequence’s tab name:
DESELECT Rectified Audio Waveforms and you will be back to full height representation.
Hope that helps!
Vashi Nedomansky
Film Editor
VashiVisuals.com
@vashikoo -
I got the same error and tried reinstalling PP and it still persisted. The only solution so far is to push the error pop up 10 times in a row and then Premiere Pro opened. Annoying but a temporary fix! Hope that helps!
Vashi Nedomansky
Film Editor
VashiVisuals.com
@vashikoo -
I think feature film editors working long days for over a year give a very realistic long term case study on how to best improve any NLE. The daily issues that pop up, no matter how minor, are compounded by the sheer fact that they must be addressed so many times in one day that you want to lose your shit.
3 years ago I was hired to work on Gone Girl. I trained and supervised editor Kirk Baxter and AE Tyler Nelson as they transitioned into Premiere Pro from FCP7. As a feature film editor myself, I’ve cut features on AVID, FCP7 and Premiere Pro and the process went very smoothly as the problems and limitations in FCP7 were the same I had gone through so many times. I had 3 weeks to share my experiences with Fincher’s team but the mechanical editing transition was accomplished in the first 3 days. Their biggest questions were: how do I mark in, out, insert, overwrite, delete, ripple delete, trim. Those were the only core essentials they needed to physically edit and plow forward.
After over a year of editing, The latest version of Premiere Pro CC carries probably 70+ new features that were requested directly by Fincher’s post team. They were not hypothetical features that a company thinks editors will want but rather critical and essential needs that must be addressed and refined to optimize a workflow. Anyone using PP has the demanding requests of those editors and the responsive reactions by Adobe to thank.
The tools are all so similar today that any platform will allow for functional editorial. The biggest difference in my view is making the changes that editors actually require and ask for. The smallest changes can bolster efficiency and productivity allowing more time for the creative process to flourish.
I feel Adobe is very selective to the projects they jump on board so they can hone in to fill the gaps to their existing functionality. Over the last 6 months I’ve worked on Deadpool in the same capacity. The 6 person edit team led by Julian Clarke (District 9, Oblivion) were all AVID based editors and never worked on Premiere Pro. I trained them all and optimized their workflow so that the transition was as painless as possible. Once I customized Julian’s keyboard shortcuts and workspaces, he was editing naturally and smoothly in 3 days much like Baxter. I translated their AVID workflow into something that functioned the same inside another NLE but the editing mechanics remained the same.
I wasn’t teaching editing. I was sharing my knowledge of what works for me and how to translate AVID to PP. I learned as much as I taught because I was asked how to reverse engineer their previous workflows and make it work in PP. I’m sure that the next versions of PP will incorporate their requests for features needed at the highest level so that technology is made invisible and the creative can be the main focus.
Sorry for rambling! Just wanted to chime in with my first hand thoughts and experiences. Bottom line…I think it’s best when editors can give direct feedback and see it implemented in a reasonable time frame. Like during the project you are working on!
Vashi Nedomansky
Film Editor
vashivisuals.com
@vashikoo -
You can also do this for free in Premiere Pro with Jarle’s Premiere Pro Presets 3.
Use the Handheld Camera preset. Just released last week.
Plus another 97 free effects in the same package.https://premierepro.net/customizing/jarles-premiere-pro-presets-version-3-0-2/
Vashi Nedomansky
Film Editor
VashiVisuals.com
@vashikoo -
The Asylum is all FCP7 internally. Pro Res proxies and a really tight workflow for the whole pipeline. They’ve never missed a deadline and put out around 30 films a year. I cut Sharknado 2 on Premiere Pro CC and shared my XML. Seamless hand-offs. Will always love FCP7 thought!
Vashi Nedomansky
Film Editor
VashiVisuals.com
@vashikoo -
I agree Mark! I edited Sharknado 2 and it was an awesome experience. Crazy editorial schedule, 4 different cameras and codecs and a shit-ton of footage. The Asylum is has all FCP7 post workflow but it was easy to integrate Premiere Pro via XML. It was just faster and more efficient for me to work in PP. Glad you enjoyed the final product!
Vashi Nedomansky
Film Editor
VashiVisuals.com
@vashikoo -
HI Paul,
Here’s a couple screencaps of my system. Hope that helps!
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Hi Dwaine,
I have a 2007 Mac Pro Tower 1.1 that is force booted into 64-bit that is running Resolve 9 on 10.6.8 with a
Nvidia GT 120 and GT 285 and have no issues. It worked smoothly with Resolve 8 as well since the start of 2012.I’ve used that system to color/finish several projects for Shane Hurlbut, Bandito Brothers, national spots and several personal projects. I’ve upgraded to a new Mac Tower but the old 1.1 is still alive and kicking as a second fully functioning station. Love your products and just thought you should know…
all the best,
Vashi Nedomansky
