Walter Biscardi
Forum Replies Created
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If you need a single machine to really scream fast, then the tower is the way to go.
If you want excellent performance at a great price, then the iMac is a great option.
If you need multiple machines in a group environment, which is what we have, then I love the iMacs in the edit suites with a 12 or 16 core machine in the machine room for final renders.
If you want an absolute beast of a machine to run Premiere Pro, well the ProMax ONE is scary fast. It’s Windows, not Mac, but if we can get the little kinks worked out in our Mac / PC hybrid workflow, this would definitely find a home in my machine room for final renders.
https://magazine.creativecow.net/article/promax-one-looking-at-the-hero
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaMTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People.
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Unfortunately as CS6 sits right now, you have to start over and re-import all your media into a new project already properly set up for dual track audio like FCP used to do. This actually caught me on a recent project and Dennis actually was kind enough to remind me of the settings in PPro to change it.
As it is now, you have to have your audio prefs set BEFORE you bring in the audio to get the Dual Track Stereo as you want it.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaMTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People.
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Keep your interface on one screen if you’re running dual computer screens. If you’re running on dual screens, you’re dropping frames which throws the audio out of sync with the video.
Drop the resolution of the video to help your system keep up without dropping frames.
In the Program monitor, turn on the Dropped Frame Indicator and you’ll know right away if you’re dropping frames. Green, you’re good. Yellow and you dropped frames.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Probably a media management issue.
Where is your raw media and where are your Video Previews stored?
We have not really had any “lost render” issues in our shop following Richard Harrington’s media management structure outlined in “An Editor’s Guide to Adobe Premiere Pro.” All of our raw media and Video Previews are kept together.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[brian t prairie] “I am exporting from Premiere with the 1920×1080 settings no problem. But when I bring it into Adobe media encoder it is telling me the source is 1440×1080 square pixels and I don’t understand why.
I think I am missing something but I can’t figure out what.”
HDV is an anamorphic format so 1080 HDV is 1440×1080. Adobe Premiere automatically stretches it out to 1920 when you’re playing it so you don’t notice the Anamorphic.
When you bring something into AME, it will tell you the actual source settings of your clip. That’s just the source, not what your output will be.
In AME, simply select Square Pixels and 1920×1080 or 1280×720 and you’ll get your nice square pixel end files. Your client asking for the HDV codec and square pixels is a bit of a mismash but it should work.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Dougie Campbell] “I’m putting together a montage of photos to make into a video on PP CS6.I will email a file back to the client for them to use on their PC or TV.Would appreciate recommendations of a suitable “catch all” file format to email.”
We never email files, we always use ScreenLight for review and then the client can download from there.
We use H264 for all our files unless the client specifically requests WMV.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Bob Pierce] “All this crashing in the middle of a project is a bit nerve wracking, to say the least.”
Best of luck and I’m pretty certain things will get better moving forward.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Alex Udell] “but audio automation can be added at the clip level via rubber banding on the timeline….or keyframing within the effects controls of a clip.”
On a clip by clip basis. But if you use the Audio Mixer to mix your timeline, all keyframes will remain in timeline position, they are not added to the clips. So if you start moving your clips around, you’re screwed with the current operation of the Audio Mixer. That’s why we don’t use it.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Yeah, Premiere Pro has Project Saving issues right now in CS6 and I mentioned in my latest article, I’ve been VERY vocal about this with my contacts at Adobe. They still answer the phone though so I guess I haven’t pissed them off too badly. 🙂
My advice would be to create a New Project and import your original one into that one. It’ll all come in as one bin. Just remove everything from that single bin and carry on.
In reality there’s probably nothing wrong with the original project, but sometimes things get a little wonky on larger projects.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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First off, Premiere Pro has no issues with AIFF files either PC or Mac, we use them almost exclusively here for all audio.
The only time I’ve seen anything even remotely like you describe is when we use AME to export multiple versions of the same file simultaneously. You send a clip into AME and then add a few more presets to that same clip, hit “Render” and you’ll see multiple video boxes rendering simultaneously.
When we do that, we very often will get glitches in the video.
But exporting directly from Premiere Pro (30 second to 1 hour shows) we have no had anything where the audio suddenly jumps around or video glitches. Do you have multiple frame rate / frame sized video in your timeline?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.