After re-linking now my merged clip has 10% cut off on top and bottom of clip that is 2880x2160 resolution. I have messed with interpret footage settings, relinked it a dozen times to no avail. When I bring it in the timeline it is perfectly normal. What is going on??
What are your sequence settings? Do you have any Master clips effects on the source clip?
Nada. Sequence settings are 2880x2160 with a 1.5 pixel aspect ratio.
Nada. Sequence settings are 2880x2160 with a 1.5 pixel aspect ratio.
There seems to be a glitch in Premiere in which merged clips do not update to the correct video resolution when re-linked to footage with a different resolution.
I'm also seeking a solution. My footage appears 2x zoomed in in the source monitor but is fine once added to the timeline.
merged clips do not update to the correct video resolution when re-linked to footage with a different resolution.
It's probably not a good idea to do that.
It works fine with regular clips. The technique has been a staple of feature editing for years. Adobe just needs to fix the bug.
Merged clips are different. And Adobe's proxy process is different. And Merged clips and proxies don't always play nice together. That's why I suggest a different work flow (at least until Adobe sorts it out).
If you need Merged Clips, don't use proxies. Use Transcodes.
I don't understand what you are talking about Jim? We all need to sync. Are you saying, I should sync(merge clips) with the original media and then make proxies? There are many issues with this method.
Are you saying I should make the proxies, sync the media(merge clips), reexport synced media and then bring them back in? It's a bit of a headache but I guess it would work.
If neither, please tell me what I am missing. Thank you for your reply.
I'm saying make Cineform transcodes of the original media as a first step. Don't use proxies at all when you need Merged clips.
Import, edit and export using those Cineform files. The Merged feature will work fine.
This would also double the size. I don't know why prores would be different than cineform. They are both intermediate codecs.
This would also double the size.
Editing needs lots of storage. You should always accommodate that need, rather than work around it.
Cineform, ProRes and DNx are all valid options for the transcoded files. I prefer Cineform because as the only Constant Quality option, it offers the best quality/size ratio.
If you are "simply" merging paired video and audio files, the "multicam" process in PrPro actually works a lot better for many purposes than the Merged Clip stuff. Say you've got a bin of clips with camera audio/separate audio, and all of them are different shots ... select all, make multicam ... and each pair will be its own multicam. Just treat is as a clip after that.
Neil, the feature I am currently cutting requires me to manually sync audio. The question is could you highlight multiple clips and sync with clip markers? That part doesn't matter that much. I had to sync one by one with merged clips anyway.
I vaguely remember using multicam for another feature with no problems. Clearly, I should have known better. The unfortunate part about trial and error on a feature film is that things like this cost lots of time. It makes you wonder why a merged clip feature even exists if is just a buggier option. It certainly makes me look bad in the editing room in front of directors. Those types of issues make me want to look at a competitor to see if they have it figured out. If they won't listen to feature editors like me on these issues, it makes no sense to stick around.
Post the problem over on the UserVoice system. That goes directly into both the engineer's system and also to the collated list the upper managers see for determining budgets. Very important to get there.
Also ... there is a "Hollywood" form of PrPro for major studios work, demos every NAB show people working in that and some of changes made for a flick that then were incorporated into PrPro.
Dave Helmly and Karl Soule are two of the top people with that section. I've TA'd at Adobe MAX the last three years with them, they're both very knowledgeable and very supportive.
I would suggest getting ahold of them and asking for advice. Navigation through finding people within Adobe can be ... intriguing ... but would perhaps be quit useful for you to get their thoughts.
Agree with Shiftey! This issue has been around for years. I have run into it throughout my career. The tech is nearly there. I was able to take a 16TB project, compress it into a few hundred gigs and travel to where my family was having Thanksgiving and was able to work over the holidays for a deadline that was pushed up. My mother luckily had a large iMac that she didn’t need during Thanksgiving and I was able to professionally edit off of a laptop due to the proxy media which were merged clips. It wasn’t flawless. I had to zoom in 75% in the source monitor to view some of the merged clips(it seemed at random) at their native resolution(I made the proxies a much smaller resolution than the optimized proxies at the studio). Black surrounded these clips. The opposite happened with the issue I created this post about. Premiere decided to cut off the tops and bottoms of these clips by 10-20% give or take upon reconnecting the larger resolution media.
I knew a little trick years ago(2015) when a lot of people were having problems with Premiere. Bad ones. I had a 6 year project sitting on my old machine at the time that I eventually had to move to a new machine. It was a disaster. Conform features that exist today didn’t then, reconnecting the media caused all sorts of audio issues, clips connect to audio from other media. I thought I was a goner until I realized I could get into the code of the project file. By changing the Premiere project file’s extension to .zip, unarchiving it, and opening it in a text editor(Premiere’s project file’s are encrypted), I was able to manually “search and replace All” the old computer’s path name and change the name on every single clip to the new path to the media on the other machine. I archived it(made it into a zip file by compressing it with an archiving program), changed the extension back to .prprj and WALLA! Premiere never knew it moved. No reconnection needed. All my files were there uncorrupted by Premiere’s reconnecting process. I still to this day do not understand how these things are not fixed when I can do so easily with a little innovation and dedication to fixing the damn issue.
There should be a dialogue box that says “Are you moving your project to another machine? Yes or No. If Yes - What is the new path to your media? There should be a manual option as well. This would be a foolproof method. It would get rid of MANY issues. I understand the value of the other method. It is needed for a variety of reasons. It is dynamic. The fact is that it doesn’t always work. This method WOULD.
Rant over, for now.