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We had an issue with Sequence Liner last time where the clips returned had a lot of black and some ran on for hours.
What we did in FCP7 was we'll make a multicam sequence, which will stringout all the clips by timecode. Only downside was that all the clips would be multiclips. You can match frame and replace them afterwards if you don't want multiclips.
by strypes
- Café LA
Me neither. I suggest making a feature request describing your scenario.
by strypes
- Adobe Premiere Pro CC
I've done short form so far, so up to 5 hours of rushes in a single project for few spots and those are on much beefier machines than what you mentioned.
That worked very well and if you toggle the resolution to half or a quarter, it feels like you're working with prores. As Kev mentioned you need RAM and a beefier GPU.
by strypes
- Adobe Premiere Pro CC
1 GB. If your card supports CUDA/OpenCL and has more than 1 GB of VRAM but is not certified by Adobe, you will get a message telling you that your card has not been certified and but that you can use it in Premiere.
That text file hack is an old one from the CS6 days. Adobe has since allowed any card that meets the minimum specs to run with GPU acceleration.
by strypes
- Adobe Premiere Pro CC
Yes. Exporting and rendering in FCP lingo are 2 different things. And they are two different processes unless "re compress all frames" is checked and it usually shouldn't be.
From experience, the exporting time is another where the speed of the drive can impact exporting speed. Not sure what is going on under the hood, but it is a process that is light on the processors.
These are
by strypes
- Café LA
We assume that processes 2 to 4 is the bottleneck, but that is not often the case. Eg. Rendering timecode. In my case, I have seen exports go around 1.5x real time with a slower WD fw800 RAID 0. And it goes at 0.5x real time with a USB 3 array.
by strypes
- Café LA
In the flyout menu in the export dialog? there is a bunch of options for resizing.
Alternatively you can drop your sequence into a new sequence with the desired output frame size, right click on the nest in the timeline and check "scale to frame size".
by strypes
- Adobe Premiere Pro CC
One thing many people often miss out when looking at drive speeds is the non real time aspects of video editing. Operations such as high speed scrubbing, accelerated playback and rendering are not real time. We do these operations all the time. Eg. Scrub through a video, play through an interview at 2x speed, write the final QT master, etc.. For these operations, you may prefer sufficient headroo
by strypes
- Café LA
Unless someone has a better way, I suggest sending the graphics to AE via dynamic linking and exporting alpha and fill separately. Just make sure you export alpha as straight.
by strypes
- Adobe Premiere Pro CC
The preview files can be set to anything, but prores provides pretty good quality compared to meg I frame but at a larger file size and probably load.
Smart rendering of Prores is a CC feature.
by strypes
- Adobe Premiere Pro CC
Hi Joe,
Premiere CC supports smart rendering of Prores and you can check "use previews" if your preview files are set to Prores. This will basically do the same thing as FCP7 where the source frames are copied without further generation loss to the Prores output. The speed of this process is largely dependent on the speed of your hard drive.
Neither Premiere nor FCPX supports refe
by strypes
- Adobe Premiere Pro CC
>I have 5k RED footage, edited in a 5k sequence (CS6). I worked in a 5k sequence and not 1080 because
>I didn't want to "scale to Frame size" for every clip as I make my cut.
>Since I'll be finishing in a 1080p sequence, I had some resolution to scale with to push in and recompose
>shots. Therefore, I blew up a couple of shots by 50%. So in my 5k sequence it's 150%.
by strypes
- Adobe Premiere Pro CC
>The GPU could be an issue if you are trying to use that 120 to run 2 monitors of 1920x1080+
That's an interesting one. From what I have experienced, the computer monitor may drop frames but the playback/IO card output will be fine.
by strypes
- Café LA
With an IO costing under $200 these days, it's a no brainer vs trying lots of workarounds.
by strypes
- Café LA
Use a proper reference monitoring system, not the computer monitor, set the sequence to progressive. QC on the reference monitor. Told you you'd run into a lot of hurdles trying to get that FCP canvas to work as a reference monitor.
by strypes
- Café LA
>Cousin Jules shows real mastery of his tools and
>materials.
I think Walter Murch mentioned that on Apocalypse Now, they made approximately 7 cuts a day. Sure, speed is not the goal of editing, but you could make the same argument about writing a book.
by strypes
- Café LA
I did it a while ago. Which version of the Resolve are you working with? Premiere did allow single sequence xmls to be exported a few updates ago. So the later versions of the Resolve may have been changed to accommodate that.
by strypes
- Adobe Premiere Pro CC
Jude Cotter Wrote:
-------------------------------------------------------
> Russ - personally I don't think it's a good idea
> to buy old tech. It's already outdated for current
> workflows, really. You're better off jumping
> forward as far as funds allow, I think. Completely
> up to the individual though.
I usually put it against a cost assessment and functionality
by strypes
- Café LA
I had that situation recently. I ended up going for an iMac. CPU performance between the base end MacPro vs an iMac is almost identical. The Mac Pros have very fast GPU but it's a custom mount and currently not user customizable and you cannot attach additional GPUs via Thunderbolt. Also, as Jude pointed out early in the thread, MacPro uses only AMD GPUS. So based on what I needed it for, I went
by strypes
- Café LA
Nope. They are right. The Mac Pros use AMD FirePro cards. Ray Tracer uses CUDA or software. And at the moment there are no Nvidia cards for the new Mac Pro as they don't fit.
Best to get a PC. GPU is much cheaper that way. Downside is you don't get Prores. But you can use DNXHD OP1A MXF.
by strypes
- Café LA
Could be tied to resource usage. I hardly use CII, tbh. It's still very laggy in Premiere.
by strypes
- Adobe Premiere Pro CC
Merged clips came before multicam sequences. Both can perform the same function of keeping the sync relationship between different assets but multicam is far more versatile as a container. You can still separate the assets after you have synced them.
What is the way you like to work?
by strypes
- Adobe Premiere Pro CC
Again, I suggest using multicam sequences. Mcam has significantly more features than merged clips and it works well in an extended post pipeline, and doesn't require creating new media.
Admittedly I haven't done a step by step guide on multicam as there are many out there, but i went straight into the details. So anyway, here is a step by step:
1. Throw the entire scene into a bin. Both vid
by strypes
- Adobe Premiere Pro CC
Select clips in the project panel or timeline, right click and choose source settings. Set to half.
by strypes
- Adobe Premiere Pro CC
1. Is there a short cut for moving clips up and down between tracks ala FCP7? if you have to set it up mnually what's the command called in the keyboard shortcuts window?
"Nudge clip selections up/down"
2. Is there a way to change the timecode on a sequence timeline, so for example you want it to start at 00:01:00:00, instead of 00:00:00:00? In FCP7 you just go to sequence settin
by strypes
- Adobe Premiere Pro CC
Huge features! The beauty of the new mask tracker is that you can start the tracking in Premiere and then send that over AE for further enhancement when the edit is locked.
Here is my take on the next version of Premiere.
by strypes
- Adobe Premiere Pro CC
Yes, you can batch lower the debayer settings by selecting a bunch of clips and setting it to half.
Prores is a smart render codec so if you need to render during the edit, it will allow you faster export to a Prores master. In theory, if you have a fully rendered timeline, exporting with used previews checked should let Premiere use the preview files, but do some tests with that. There should
by strypes
- Adobe Premiere Pro CC
Hi Joe, one thing you can do with Red footage is to right click on the clips and go to source settings and lower the debayer resolution.
The other setting that affect render times is GPU. If you have a fast GPU, that can speed things up but if your GPU isn't that fast you may get better exporting times using software rendering. This can be set in AME on export.
by strypes
- Adobe Premiere Pro CC
Yea. Ray tracing is very GPU heavy so definitely you would like a good CUDA GPU especially for final renders. You can preview in draft mode while working. Alternatively you can use Video CoPilot's Element 3D or C4D. There are reasons why you would avoid pre-rendering certain layers as compositing sometimes requires effects (especially lights and shadows) to interact with all the layers.
Invert
by strypes
- Adobe Premiere Pro CC
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