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Even though we use FCP7 is QMaster likely to be fixed?
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Oct 31, 2013 20:02
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No idea, but I would think that the new version of Compressor that is bundled with FCPX or sold separately on the app store is more likely to be fixed than the version that was bundled with FCP7.
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Oct 31, 2013 20:34
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I won't do Mavericks until I have no choice. I only went from Snow Leopard to Mountain Lion a few months ago because I had to upgrade Telestream Episode to fix a work stopping bug. Since everything I use works on Mountain Lion I will stay with it until either I get a new workstation or I come across another work stopping bug that can only be fixed by upgrading.
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Oct 31, 2013 21:49
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I use my home machine as a test lab rat for new software. I haven't updated to mavericks yet at work either. But I must say tagging files in finder rules for video editing.
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Oct 31, 2013 22:14
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Dillbag posted:I've said it before in this thread - the first rule of working with NLE software is never, ever update your operating system, even incrementally (e.g. OSX 10.7 to 10.8, etc.), until you are sure it works with the new version. Programs like Avid and Premiere will have a qualified specs list for the software somewhere on their websites. Of course, if you're using an end-of-life'd piece of software like FCP 7, you're poo poo out of luck Where I work we have four Mac Pro running FCP 6.0.6 on Leopard and one newer Mac Pro with Mountain Lion and FCP 7. Naturally, if you start a project on FCP 7 you can't then use one of the other FCP 6 machines. We've just been given another Mac Pro so at least there will be two FCP 7 machines to work with. Also, up until now the department has been using Sony DV/DV-CAM cameras, but they're staring to wear out now (plus DV tapes are getting harder to stock) so we're looking at replacing all cameras with the JVC GY-HM650 (The BBC bought 500 of them for broadcast news production). Of course, any changes needed to the supporting hardware hasn't really been considered as yet.
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Nov 2, 2013 11:39
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spookygonk posted:If you start a project on FCP 7 you can't then use one of the other FCP 6 machines.
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Nov 2, 2013 11:54
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WebDog posted:You can always export out the project as a XML file (I forget which version, 4.0 I think) and reimport that into FCP 6.
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Nov 2, 2013 12:54
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Is there any way to make Premiere's zoom tool function like Photoshop's?
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Nov 5, 2013 17:05
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If you mean by the click and drag to zoom, then no. The only zoom shortcuts are - and = with \ to "zoom to sequence". You might be able to bind it with a modifier + mousewheel?
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Nov 6, 2013 02:46
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Somehow I didn't know about - and =. Now that I've been using Premiere for a little while I think it's time I sit down and take a look at the shortcut list again. Thanks!
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Nov 6, 2013 08:47
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Yip Yips posted:Is there any way to make Premiere's zoom tool function like Photoshop's? I bound the ~ key to make any window the mouse is hovering over fullscreen. Very useful.
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Nov 6, 2013 13:14
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I think that's the default  . I use that a lot though.
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Nov 6, 2013 13:20
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Going back about a month and a half ago, I sorted out the issue with the *.FLV file in one of the more "lazy" and probably least sensical ways. Open Broadcaster System outputs to *.mp4 where as Xsplit outport to *.flv. I shot the footage using Xsplit because ~reasons~. Anyway I got the bright idea of "why don't i just play the *.flv in VLC player, capture it via OBS and export it as an *.mp4 that way?" Turns out it worked with no loss in resolution and the frames played just fine. Again, probably the least likely way but hey it worked.
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Nov 8, 2013 04:35
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Near complete amateur here (FCPX). For a friend's birthday I want to cut a trailer out of an hour long thing we made when we were teens. I got the VHS digitized and into FCP, but it's just a bitch editing with basically one hour-long 'shot' in the event browser. Keywording of course makes it easier, but I'd really like to cut up that shot into different scenes in the event browser. I've watched some tutorials on Izzyvideos, but they haven't mentioned it yet and since I guess it's not very common I don't think they'll address it. Does anyone know how a way to divide imported shots into multiples?
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Nov 12, 2013 03:01
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Make subclips by favoriting sections of clips, then filter the event browser with favorited clips only. If you want to get real technical you can use both favorites AND rejected markers to separate out clip types.
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Nov 12, 2013 03:15
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1st AD posted:Make subclips by favoriting sections of clips, then filter the event browser with favorited clips only.
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Nov 12, 2013 03:29
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Why does the name matter? View your list in thumbnail view and as long as your subclips are sufficiently short you should be able to tell what you're working with at a glance. If it bugs you that much, use keywords in combination with favorites or rejected clips.
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Nov 12, 2013 03:40
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1st AD posted:Why does the name matter? View your list in thumbnail view and as long as your subclips are sufficiently short you should be able to tell what you're working with at a glance.
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Nov 12, 2013 03:54
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I have a ~3 hour sequence in Premiere CS6 with 3 audio tracks. One part of the MP4 video, another mp3, and another m4a. I've tried a fresh sequence, lots of different MP4 encode settings, different audio settings, updated the drat thing, and nothing other than track 1 gets mixed. I'm only encoding 30 second bits to test. I'm having a hard time troubleshooting this. Any pointers? I've worked with sequences with lots of audio tracks before, but I don't know how I've gotten myself into this situation. I've exported similar setups to this before (m4a and mp3) without issue as well. Advice appreciated!
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Nov 12, 2013 07:35
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Quick After Effects question: I have nested a comp (call it A) inside a comp (call that B). I would like the A comp to start from the beginning at the point where it comes in on the B Comp. But it doesn't. It seems the running times for both comps start at the same point. So when the A comp comes in 15 seconds into the B comps timeline, it's already run 15 seconds itself. I can get around this by shifting everything in the A comp 15 seconds to the right, but it's very inelegant. Is there a way to fix this properly?
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Nov 12, 2013 11:37
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thehustler posted:Quick After Effects question: Instead of shifting the elements inside the comp A why not just shift the comp A itself on the timeline?
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Nov 12, 2013 15:36
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Well the question is irrelevant now because I found out what I'd done wrong. Somehow, after placing the comp A inside comp B, i'd grabbed the handle and trimmed it by dragging it to the right, rather than grabbing the bar as a whole and dragging it to the right. There's a little tick mark that denotes the start of a bit of media, be it a comp or a video, and that wasn't there. Asked a colleague who sits near me and he spotted it right away. So the nested comp wasn't starting at 0 seconds to start with! So stupid 
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Nov 12, 2013 15:44
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Ziploc posted:I have a ~3 hour sequence in Premiere CS6 with 3 audio tracks. One part of the MP4 video, another mp3, and another m4a. Oh, the media encoder decides to ignore those tracks, yet the Premiere exporter doesn't. I guess I won't be batch exporting anything from this sequence. (Thank god I don't need to)
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Nov 12, 2013 16:47
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Have you tried doing a render and replace on all the audio? I have to do that sometimes when I'm using plugins.
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Nov 12, 2013 17:02
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Quick question on editing DSLR footage in Premiere: Will I see a performance boost in editing if I convert all my files to Pro Res before ingesting into Premiere. I know Premiere handles DSLR footage natively, but I'm also on a Late 2008 MacBook Pro so any performance increase I can get would be worth it. I've read that H.264 isn't best suitable format for editing with.
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Nov 12, 2013 19:10
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It depends on what you're editing, I slapped a SSD into my 2009 Macbook Pro and editing is a lot snappier now. I still really can't throw any effects onto the DSLR footage, but just straight cuts work just fine. One important note - despite Premiere, FCPX, etc. being able to handle native H.264 footage, you end up paying the render tax eventually. Renders on ProRes material are way faster than native DSLR footage.
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Nov 12, 2013 20:04
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1st AD posted:It depends on what you're editing, I slapped a SSD into my 2009 Macbook Pro and editing is a lot snappier now. I still really can't throw any effects onto the DSLR footage, but just straight cuts work just fine. Good to know, and yes I got a SSD in there as well and it seems to be more on throwing effects and stuff on footage like you said.
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Nov 12, 2013 21:42
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Also one thing about ProRes vs H264 is getting the extra bit-space from being 10 bit vs 8 bit. Effects on the footage will look better due to better color space and extra floating-points for calculating the changes your effects have on the footage. For example, an 8 bit file has one decimal point place for adjusting opacity when cross-fading, whereas 10 bit footage has 3 or 4 decimal places for measuring opacity, which gets you a cleaner look with less distortion and blur.
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Nov 12, 2013 22:30
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Don't most premiere cs6/cc effects use 32 bit within the program though? Rendering to prores gains you nothing if the program uses a 32 bit color space internally. It's not like it adds any color information back into the file...
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Nov 13, 2013 02:15
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Peacebone posted:Will I see a performance boost in editing if I convert all my files to Pro Res before ingesting into Premiere. I've read that H.264 isn't best suitable format for editing with. However renders are generally slower as h.264 is compressed footage and that requires an extra "step" during transcode when rendering. A final export is generally faster going from 422 to 422 as it only really has to render out any frames that have effects, like dissolves and so on. But speed is still determined by hard drive and RAM speed/size.
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Nov 13, 2013 11:58
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Does Compressor 4/QMaster cache your conversions? Ran a 41 minute file through as 720p H.264: 6m30s The second time I run a conversion on the same file, it takes less than 30 seconds. Caching is the only answer I can come up with.
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Nov 14, 2013 15:30
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Latest Premiere problem: I have two video sources. One is 30fps and the other is 24fps. I synced them in a 24fps sequence, nested that in another sequence, and cut that. I somehow didn't notice that the 30fps footage looks like total poo poo scaled to 24fps. I tested the reverse and the 24fps footage looks fine in 30fps. So, is there some way I can change the frame rate of the sequence they're synced in, or make a new one and replace the original, keeping the cuts?
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Nov 20, 2013 22:28
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So uh, is dynamic link between AE and Premiere on cs6 always terrible? It just seems to render black for the majority of my comps. We don't have CC on this machine unfortunate but I've tried relinking and it still fails. Every dynamic comp is it's own AE file if that helps. the_lion fucked around with this message at 10:27 on Nov 21, 2013 |
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Nov 21, 2013 05:04
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the_lion posted:So uh, is dynamic link between AE and Premiere on cs6 always terrible? It just seems to render black for the majority of my comps. How are you storing your raw footage? I feel like dynamic link needs a fast RAID to be reliable for longer comps.
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Nov 21, 2013 13:40
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Is the only way to put a hyperlink in a video for it to be a flash movie?
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Nov 21, 2013 22:07
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the_lion posted:So uh, is dynamic link between AE and Premiere on cs6 always terrible? It just seems to render black for the majority of my comps. Sometimes minor service updates to Adobe CS programs will delete whatever third party plugins you've installed and make things that worked before render out black. Try reinstalling whatever RAW plugins you're using in both Premiere and AE, and see if that solves the problem.
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Nov 21, 2013 22:38
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BeavisNuke posted:How are you storing your raw footage? I feel like dynamic link needs a fast RAID to be reliable for longer comps. Moon Potato posted:Sometimes minor service updates to Adobe CS programs will delete whatever third party plugins you've installed and make things that worked before render out black. Try reinstalling whatever RAW plugins you're using in both Premiere and AE, and see if that solves the problem. The footage is just photoshop files I animated in AE at 1920x1080, really basic stuff. The footage is stored locally on a 1TB fusion drive. Most of the clips are 1-5 seconds long.
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Nov 22, 2013 04:13
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the_lion posted:The footage is just photoshop files I animated in AE at 1920x1080, really basic stuff. The footage is stored locally on a 1TB fusion drive. Most of the clips are 1-5 seconds long. That's odd. When you right click on the composition in your Premiere timeline and choose "edit original" does your fully-intact animation open up in After Effects?
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Nov 22, 2013 05:19
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Moon Potato posted:That's odd. When you right click on the composition in your Premiere timeline and choose "edit original" does your fully-intact animation open up in After Effects? Yeah, this is the part that confuses me. I can see them in the premiere bin, and edit original works 100% fine. Something tells me I hit a big old glitch that is obscure. I'll probably do it the old fashioned "render and replace" files in premiere I guess.
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Nov 22, 2013 06:10
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the_lion posted:Yeah, this is the part that confuses me. I can see them in the premiere bin, and edit original works 100% fine. That's probably the best approach. Hunting down the cause of CS glitches can be very time-consuming.
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Nov 22, 2013 06:23
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