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Show all posts by user
Hi Scott, what sort of sticking points do you have in Premiere? I find Premiere to be rather similar to FCP but much better in many areas. There are a few differences to remember, so if you have an questions feel free to ask. There's The Other NLE's forum right here on the LACPUG where you can direct your questions if you have any.
by strypes
- Café LA
Hi Jude, not sure what you mean by not dynamic linking, unless you are working in After Effects. But I really haven't used Ray Tracing much. I tried getting some 3D text done for an end page with Ray Tracer and because I didn't want to install Element 3D on the work machine.. to cut the story short, I didn't have CUDA and I didn't like the waiting time.
I like Premiere for editing, but the fin
by strypes
- Adobe Premiere Pro CC
While we are on the subject of Adobe apps, this is a neat video by Steve Audette on using AE to enhance graphic treatments in the edit. I do use a bit of AE in the edit when I can afford the time. But this is a very nice video. Steve works primarily on the Avid, but it works as good if not better in Premiere due to the PPro/AE integration.
by strypes
- Adobe Premiere Pro CC
I won't dynamic link a comp with ray tracing. Ray tracing needs a fast CUDA GPU. Without it, it can be SLOW. If you're doing edits, there's no point dynamic linking to a ray traced comp, unless you intend to tweak the text constantly, but there will be a hit on render time.
by strypes
- Adobe Premiere Pro CC
Thought I'll post this here. I just tweaked a set of promos in Premiere. The process is absolutely lovely. This is a short summary of the processes.
- Extracted the clean VO track from the full mix with a phase inversion of the mix minus VO track. I needed to do this to edit and version the promos because the original edit was done in another country on the Avid and getting original assets fro
by strypes
- Adobe Premiere Pro CC
The Text Wrangler workflow is very neat. I just used it for a documentary to replace an hour worth of subtitles.
by strypes
- Café LA
Nope. Just apply it, wait for the analysis to be done and then render it.
by strypes
- Adobe Premiere Pro CC
Premiere is fine no issues that I know of.
by strypes
- Café LA
Yes you can in CC. From memory, you need to have the clip selected in the timeline, but I haven't used CS6 in a while, so I could be mistaken.
by strypes
- Adobe Premiere Pro CC
Make sure the Apple time server (NTP) is properly configured if you are working off a NAS. The difference in time stamps can throw the machines off.
by strypes
- Adobe Premiere Pro CC
We are talking about the cache files. You can leave it on the boot drive if you are working in a single user environment. Ideally this should be on a reasonably fast drive so preferably not a USB or fire wire drive. The cache files will consist of transcoded audio files, and a few other light but essential files that help Premiere deal with many formats natively. If you choose to leave it on the
by strypes
- Adobe Premiere Pro CC
The scratch disk location is stored on the project level. What is stored on the global (app) level is the cache.
by strypes
- Adobe Premiere Pro CC
You need to calculate the load on the devices, then find a suitable UPS unit.
by strypes
- Café LA
DPX is uncompressed. ProRes is compressed. You can only use DPX in FCP7 with 3rd party support.
by strypes
- Café LA
If you are working with RED, I suggest monitoring the RAM usage. 24GBs or RAM is nice, but occasionally it will clog up due to the number of real time processes in play. Good to purge the RAM once in a while when it is filled up. You can download the free AtMonitor app off the app store.
by strypes
- Adobe Premiere Pro CC
>Funny thing is if I drag the multiclip to the
>sequence icon, where it should give me the
>settings based on the clip, I get just audio in the L
>channel.
Ha. Don't create new sequence from clip with multicam sequences. It creates an adaptive master track.
Glad you spotted this.
by strypes
- Adobe Premiere Pro CC
In this multicamera sequence, if you open the track mixer, you should see an output to both channels on the master output. If there isn't, make sure track 1 is panned to left and track 2 is panned right.
by strypes
- Adobe Premiere Pro CC
Can you open the multicam sequence in timeline and show me which tracks are enabled? You can right click on the multicam sequence in the project panel and choose "open in timeline". It should be mono channels with audio coming from the wav file.
by strypes
- Adobe Premiere Pro CC
I'll make sure the files are imported/set to mono. When creating a multicam sequence, set audio to Camera 1, mono. At least i think that's what you're looking for. Can you post screen grabs? Or drop me an email and I can run you through it.
I'll skip using merged clips altogether. The multicam audio channels can be customised by going to the master channel audio fader in the multicam sequence
by strypes
- Adobe Premiere Pro CC
One way to trim a clip with multicam is to open up the mcam clip in the timeline and trim off the parts you don't need.
Regarding deleting audio it doesn't need, you can delete them if you open in timeline, but why do it?
Any issues with round trip workflows? For audio, none that I know of. You can export an omf to the audio house and it will be what you used in the edit.
However, if you
by strypes
- Adobe Premiere Pro CC
Have you tried using the multicam function? I've only been using that for dual system sound since audio sync in Premiere was introduced.
Just select both audio and video clips, right click and "create multi camera sequence", check audio for single cam, and sync with audio. You can open the multi camera sequence in timeline to check the sync.
by strypes
- Adobe Premiere Pro CC
I use a modified set of FCP keys. I actually don't think you need to relearn the entire set of keys, since a lot of the basic editing functions are similar. However, I do advise paying attention to many of the keys in Premiere add them because those are mighty useful. I do find the trimming quite similar to Avid, which makes trimming really fast once you get a hang of it. You can also trim like y
by strypes
- Adobe Premiere Pro CC
Just to add, for dual system sound synchronisation, use the camera 1 option. If you want to check sync and make adjustments, open the Mcam sequence in timeline.
by strypes
- Adobe Premiere Pro CC
Yes, what Jude said. Treat a multicam sequence as a container to hold clips in sync, and that's how it works. The audio synchronization function works very well if you have decently recorded audio eg. dialog scenes, interviews, etc..
Just did a write up on some of the functions. Figured there was a lot of tutorials out there to set up basic multicam edits, but none that really explores the di
by strypes
- Adobe Premiere Pro CC
Fcp assumes it doesn't have to render because it is the same codec as sequence. But it does not mean that the RT Extreme engine supports it. Drop any effect including a cross dissolve and the red render bar shows up.
Btw, switch to unlimited RT. "Safe" was a legacy setting. With unlimited RT set for a sequence with supported codec settings, the worst you will get is an orange render
by strypes
- Café LA
Fcp decides what gets a light green or dark green bar by doing system profiling. This is done on the initial start up of FCP7 and whenever preferences get trashed. The red render bar also turns on for formats that are not optimised by the RT Extreme engine.
by strypes
- Café LA
To some degree... FCPX seems to prefer consolidating to the QuickTime container as in the case of XDCAM EX and Avchd. I suppose that helps media management. Premiere will work with the file directly.
FCP doesn't really need to have everything in one codec. Quite often I have different codecs in the same timeline - I usually set my edit sequence to prores proxy for faster renders then toggle it
by strypes
- Café LA
Also one nice new feature you will probably love is that you can use sequence markers on your string outs and then export that as an html. So you can have story notes on your markers and it exports like a film contact sheet where you can see a thumbnail where the marker is and you can read your marker notes.
by strypes
- Avid Media Composer
Re linking in Avid shouldn't be that dicey. There are a set of parameters you can use that would cause Avid to re link, but I haven't tried it extensively with subclips yet.
Native works fine in Premiere. C300 is I - frame only Mpeg2. Premiere handles that like butter and is quite stable with it. In fact, you will realize that you don't even get a render bar with XF footage because Adobe figur
by strypes
- Avid Media Composer
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