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Uncheck the "insert sequence as nest" or what I refer to as the "KEM roll" button. That is the exact opposite of what I mentioned in point 10.
by strypes
- Adobe Premiere Pro CC
Any effects applied to the clips after you put it in the timeline?
by strypes
- Café LA
You can use the Resolve to generate the rushes. I believe the free DaVinci now let's you work in higher than 4k.
Fcp works with 4k but it's slow. Premiere is faster with 4k. Or you can try fcpx.
by strypes
- Café LA
Their product line was a bit stagnant. Do they have a thunderbolt monitoring solution? BMD and AJA have already been selling their ThB monitoring products for years.
Moreover, I actually think that this 3rd party intermediary monitoring solution would be a thing of the past once we get managed color spaces.
by strypes
- Adobe Premiere Pro CC
Sounds like a frame rate mismatch if it is not present in the source. Check frame rate settings in transcoder.
by strypes
- Café LA
I'm with Nick on it. Real time playback of effects are not there and the render time is much greater. No point cutting 4k in fcp7. I'll go with a more modern NLE.
by strypes
- Café LA
That's CS6 so my memory of that can be a bit hazy. I think you can copy and paste attributes just that the dialog box doesn't show up.
by strypes
- Adobe Premiere Pro CC
Exporting directly to your final delivery eg. Mp4 should result in higher quality output since there isn't any loss when converting to an intermediate format. But prores is designed as a high quality intermediate codec so you're unlikely to spot much of a difference.
I'll go with prores hq (and I usually use that as an intermediate to/from grading), but for your purpose, you're unlikely to sp
by strypes
- Adobe Premiere Pro CC
Nope. There are no thunderbolt PCIe cards. You can get a Usb3 card, though.
Edit: Not for the Mac. But HP...
I haven't tried this yet though. And seems like it only works on specific HP models.
by strypes
- Café LA
Congrats, Nick!
by strypes
- Café LA
You can try this:
1. Drag them all into a timeline.
2. Delete tracks 5 to 8.
3. Hold option and drag them into a new bin. That should create new master clips. You can now delete the oregional master clips in the project.
by strypes
- Café LA
Is the audio part of the multiclip? There is a separate command to match frame to a multi clip. Also, there is a reveal master multi clip command.
by strypes
- Café LA
Happy birthday, Mike!
by strypes
- Café LA
>it still took almost 10 minutes for a 45 second sequence.
Either you are working with RAW formats or you are doing a lot of effects work, or your machine is seriously under performing. If you can let us know your machine specs and the effects you are using so we can try to find a bottleneck for the exploded render times you are seeing.
On a decent system, I would expect exporting to be
by strypes
- Café LA
I recall being told that Cat DV being able to open an fcp7 project file during NAB last year, but I can't find a link that says that, but even if it does, I think getting a laptop with fcp7 is cheaper and easier.
by strypes
- Café LA
I don't know that much about Blu Ray. It should support 24 fps. I am guessing PAL would be the option, since 24 fps in the NTSC world is 23.976. The issue is if there is an analog conversion. Then the signal needs to be 50i. Then the pull down would be a different one from what you'll expect.
by strypes
- Café LA
Mavericks hasn't been much of an issue, but for what I know, Mountain Lion was extremely stable with fcp7.
by strypes
- Café LA
Noticed you are using Premiere Pro CS6. That is a little bit sticky because Premiere back then didn't support Avid Media (op atom MXF). What I did back then was edit QTs in AMA media and then export an AAF and Premiere was happy.
by strypes
- Adobe Premiere Pro CC
Premiere Pro CC will support Avid DNxHD files directly so what you should do is consolidate transcode the sequence to DNXHD and import the AAF file.
by strypes
- Adobe Premiere Pro CC
Trying it out right now. It seems to behave as expected with spanned clips appearing in folders with clip content duplicated due to them being spanned clips.
by strypes
- Adobe Premiere Pro CC
I could be wrong about it though... I just tried it and it seem that RED gets imported with the RDC folder intact, but I don't have any spanned RED clips on hand at the moment.
by strypes
- Adobe Premiere Pro CC
Those clips should be spanned duplicates, so if you look in the duration column, all instances of the spanned clips have the same duration.
by strypes
- Adobe Premiere Pro CC
You should be able to drag multiple red folders from the media browser.
by strypes
- Adobe Premiere Pro CC
Premiere with the built in audio synchronisation function.
Put audio and video in the same bin, select them, right click and choose "create multicamera source sequence". Then choose to sync by audio and select "camera 1" if you are working with dual system sound.
by strypes
- Adobe Premiere Pro CC
>Traditionally, you sync the audio and video, and
>create a merged clip.
I would suggest putting the audio and video in the same bin and use the "create multicam sequence function". That provides significant workflow benefits over using merged clips.
by strypes
- Adobe Premiere Pro CC
You should be fine without transcoding. The Canon h.264 files cut like butter.
by strypes
- Adobe Premiere Pro CC
I've only used "always open with" for short durations, but is there any reason you don't want to upgrade the project file structure?
Another way is to launch the app and open the project from the recent project list. That is kind of how Avid editors tend to work. Not better, just different.
by strypes
- Adobe Premiere Pro CC
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