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Trevor_Asq
Advisor
Trevor_Asq
Advisor
Activity
‎Nov 18, 2023
10:06 AM
We are used to seeing lots of metadata that is embedded in MXF files showing in Avid bins, but the same is not true in PP. Currently we get the first line ('EVS Device Src') in 'Comment' and 'EVS_NOTES' shows up as 'Log Note'. Any chance this could be displayed via the metadata window? Even if it were all just loaded into Comment, although ideally it would show up as seperate bin columns for each 'comment_' entry - as it does in Avid. Here's the metadata from an MXF file (using ffmpeg -i INPUT_file -f ffmetadata c:\OUTPUT_FILE) material_package_name: ** test clip comment_EVS_Device_Src: EVS XT comment_EVS_Processing_Device: XTAccess v.4.6.188 SN.****** comment_EVS_Material_ID: ;a!p-i-x comment_EVS_TC_IN: 03:38:12:10 comment_EVS_TC_OUT: 03:38:42:03 comment_EVS_Media_Duration: 00:00:29:18 comment_EVS_Video_Codec: Avid DNxHD 8 b Low comment_EVS_Video_Std: HD_1080 comment_EVS_Video_System: sys_25 (PAL) comment_EVS_Video_Interlaced: 1 comment_EVS_Video_Aspect_Ratio: 16/9 comment_EVS_Audio_Codec: PCM comment_EVS_Nb_Audio_Monos: 8 comment_EVS_Nb_Videos: 1 comment_EVS_Creation_Time: 2023/11/17 16:06:15 comment_EVS_Creation_Time_GMT: 2023/11/17 16:06:15 comment_EVS_Backup_Time: 2023/11/17 16:19:39 comment_EVS_UmID: ;a!p-i-x comment_EVS_UserNb: 1 comment_EVS_NumClip: 615 comment_EVS_Camera: K comment_EVS_Camera_Pref: 0 comment_EVS_Camera_Label: GC07 *** 1 comment_EVS_Rating: 0 comment_EVS_TC_System: sys_25 (PAL) comment_EVS_Short_IN_TC: 03:38:12:10 comment_EVS_Short_OUT_TC: 03:38:42:03 comment_EVS_Short_REF_TC: 03:38:27:06 comment_EVS_Clip_Duration: 00:00:29:18 comment_EVS_ClipName: ** test clip comment_EVS_Keyword_1: Goal comment_EVS_Keyword_2: ROONEY Wayne comment_EVS_Keyword_3: Long Range comment_EVS_Keyword_4: Volley comment_EVS_Keyword_5: 2-0 comment_EVS_ClipSrc: ;a!p7QQs comment_EVS_VarID: ;a!p-i-x comment_EVS_MSListID: comment_EVS_MSListPos: comment_EVS_Owner: ****** comment_EVS_Keyword: Goal, Long Range, Volley, 2-0 comment_EVS_Participant: ROONEY Wayne comment_EVS_Ingest_Reference_ID: comment_EVS_Production_ID_(number): comment_EVS_Description: words_words_words_this_is_the_d comment_EVS_NOTES: technical_notes comment_EVS_Content_Type: CLEAN_FEED comment_EVS_Sport: Boxing comment_EVS_AST_Group: Boxing comment_EVS_AST_Decision: PERMANENT comment_EVS_Ingest_Asset_ID: ***1029574 comment_EVS_Ingest_Format: DIGIBETA comment_EVS_Event_date: 30-Jul-1977 comment_EVS_TX_Date: 31-Jul-1977 comment_EVS_Shoot_Date: 30-Jul-1977 comment_EVS_Edit_Date: 31-Jul-1977 comment_EVS_User_Restricted: NO comment_EVS_User_Restriction_Reason: comment_EVS_Archived_in_Tedial_: NO
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‎Jul 30, 2023
09:11 AM
Just came across a similar issue. Dealing with source files with multiple language commentaries, A1&2 is clean fx, A3&4 English, A5&6 French etc. Subclipping and/or adjusting audio mapping has no effect - only audio on channel 1 of the source file is transcribed. Workaround is to put into sequence and do static transcript - which works pretty well TBH but it would be great to be able to transcribe multiple languages.
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‎Jul 30, 2023
09:10 AM
1 Upvote
Just came across a similar issue. Dealing with source files with multiple language commentaries, A1&2 is clean fx, A3&4 English, A5&6 French etc. Subclipping and/or adjusting audio mapping has no effect - only audio on channel 1 of the source file is transcribed. Workaround is to put into sequence and do static transcript - which works pretty well TBH but it would be great to be able to transcribe multiple languages.
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‎Jul 14, 2023
04:05 AM
Just tested in v23.6 beta - the proxies relink bug is still there (i.e. where opening a project prompts to relink proxies, but clicking cancel shows that they are in fact linked). To replicate: Production containing: Rushes project with 1 clip, proxy created. Edit project with 1 sequence - with just the clip from the rushes project in it. a. move proxy media to different location b. open rushes project within production and relink proxy via relink dialogue prompt c. save and close rushes project d. open rushes project - it will prompt to relink proxy - click cancel e. proxy *is* linked this repeats every time you open the rushes project. Rushes project must be open at same time as edit project for links to propagate. If you open the edit project, with the rushes project open, it will ask you to relink, click cancel and the proxy will be linked. If you *save* the edit project it will still ask to relink every time but clicking cancel will bypass that and the proxy will be linked. Possible workaround (although clicking cancel every time may be less exhausting): If you detach the proxy in the rushes project then attach to the moved file *then* it seems to remove the constant request to relink every time. I've only tried this with one file and that is painful enough. (Seem to remember re-attaching multiple proxies was very painful one at a time procedure.)
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‎Jul 14, 2023
03:22 AM
Seems to work OK. May be time to add some kind of 'administrator' level locking for productions - so production-wide settings can't be changed by just any user.
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‎Jul 11, 2023
02:14 PM
Thanks Neeraj Will check it out. Most places I work are still on v22.6.4 ... Or even v15...
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‎Jul 09, 2023
01:20 AM
How is it planned to work for productions? Still per project and off by default? What happens when sequence moved/copied from project without autolog enabled to one with? What happens when sequence edited into another sequence in a project with different autolog settings? Ditto copy/paste of timeline elements. Likely to get messy when multiple editors sharing projects in a production. Suspect we need a clear indicator for autolog / tone mapping in play.
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‎Jun 20, 2023
02:04 PM
Command + Shift + F11 is the answer... 'Dog Ears' apparently
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‎Jun 19, 2023
10:50 PM
What's the shortcut to show the diagnostic or 'geek mode' overlay? Ta
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‎Apr 20, 2023
02:22 AM
1 Upvote
https://www.youtube.com/watch?v=Ii81eo-yCjM&ab_channel=FlowCaster
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‎Apr 20, 2023
01:56 AM
I don't think it'll be ready for quick and easy irregular client viewings for a while - there's always going to be router / firewall issues - NDI or even ATEM webcam sharing via Zoom etc easier. Flowcaster from drastic.tv also looks interesting. But SRT is usually pretty reliable. I had flight case with router & Haivision decoders delivered for recent tournament and it was flawless - all preset by engineering though - I just had to plug in ethernet and monitoring.
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‎Apr 19, 2023
12:20 PM
It seems that: PP 'Listener' = Broadcast this SRT stream and anyone with IP address & port (& any encryption) can pick up by acting as a 'Caller' PP 'Caller' = SRT stream to specified IP address - receiver has to act as a 'Listener' PP 'Rendezvous' = SRT stream between specified IP addresses (entered at both ends) Receiving on OBS studio on same network: PP - Open Preferences | Playback - enable Transmit, enable Adobe SRT (enabled video and audio stream) click on settings gear icon and select listener, default port 4201, default latency 0ms, default medium quality OBS added media source, unchecked 'local file' set input to srt://IPADDRESS:PORT so srt://192.168.0.44:4201, otherwise defaults. Now PP is viewable via OBS - about 2.5 seconds latency (WiFi LAN). Can swap so PP is a 'caller' using OBS IP address and setting OBS to be a 'listener' - using ITS OWN IP ADDRESS and ?mode=listener (so srt://192.168.0.16:4201?mode=listener). SRT appears to be limited to 4 channels and Multichannel PP output has 1&2 and 3&4 swapped (don't know if fault is with Adobe or OBS there). Stereo sequence reports as 2 channels to OBS mixer and plays OK. Seems like you have to jump through a few hoops when switching between settings to get the stream to stick between the two points. Either toggling the view icon in OBS and/or between sequences in PP seemed to do it. Receiving on Android phone using Haivision PlayPro app: For android phone I downloaded the Haivision Play Pro app and got it to work by setting PP as a 'caller' - with the phones IP address in the PP SRT settings - and the Haivision set to be a 'listener' on the same port (4201, rather than Haivision default of 5000). It then did work when I swapped them (PP as 'listener', Haivision as 'caller') - about 8" delay. Although then when I went to change a few things the Haivision went back to a spinning wheel. Kind of stayed there for the most part too. Could occasionally get it to see the stream but mostly not. To setup via internet will, I suspect, require some port forwarding, although may not be needed in Rendezvous mode?
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‎Mar 30, 2023
05:41 AM
Still broken in v23.4.0 build 33
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‎Mar 23, 2023
02:51 AM
Appears to be #FIXED in v23.4.0 build 33 ----- v23.4.0.27 Mac OS Monterrey 12.5 Basic steps to reproduce the problem 1. Create new project 2. Import File 3. Make Offline (leave on disk) 4. Link Media 5. Check (or uncheck) 'File Name' checkbox Expected result and actual result: Would expect the box to be ticked/unticked - however app instantly crashes when attempting to tick the box. (Works fine in v23.2) NB I tried resetting prefs / media cache / plugins etc, no effect - does reset the relink page but unchecking the file name has the same effect. * video capturing the issue - attached
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‎Mar 17, 2023
07:27 AM
Bug, previously reported, still extant in Adaptive audio track workflows - it's not possible to mute individual outputs in the track mixer routing for an adaptive timeline track unless A16 is included in the mutes. The project at the link below is a simplified timeline to show the bug. In this timeline track A4 should have A1&A2 outputs muted, but all tracks pass if A16 output is unmuted. https://drive.google.com/file/d/11k5m1Xf8jLEjxuBgh7w5f0SlsfRwQ5Ce/view?usp=sharing - collected project example. I realise this is pretty niche use of adaptive tracks, or others would have noticed. We currently do this work in Avid but every couple of years see how it would be possible in Premiere. This is in v23.4 beta on MacOs 11.6.8
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‎Mar 14, 2023
11:11 PM
Not in PP - Reaper can do it, but suspect you'd end up recutting a lot anyway - https://youtu.be/aEvO3ufOqvY
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‎Mar 14, 2023
12:04 PM
1 Upvote
A lot of this flags the lack of decent conform tools in Premiere.
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‎Mar 14, 2023
12:02 PM
+1 to seeing the most recent productions rather then all the projects therein.
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‎Mar 14, 2023
08:33 AM
https://drive.google.com/file/d/1nUFBIHX-pckC1agU20YpL2cotRmyeXeU/view?usp=sharing Current behaviour: Choose selects sequence and 'open in source monitor' 'Open sequence in timeline' (i.e. displays the source monitor sequence in the timeline) --- do some stuff--- Close the timeline for the selects sequence Selects sequence is *unloaded* from the source monitor. I can't see why that behaviour works for anyone... Preferred behaviour: Choose selects sequence and 'open in source monitor' 'Open sequence in timeline' (i.e. displays the source monitor sequence in the timeline) --- do some stuff--- Close the timeline for the selects sequence Selects sequence *remains* in the source monitor.
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‎Mar 14, 2023
08:05 AM
https://drive.google.com/file/d/1-NMxFTpWGzNtjw8swqwBF9mMSUWRNGP-/view?usp=sharing Is an example using adaptive files - there's a stereo file and 2 instances of an 8 channel file, one set to be LRC (so track for track) and the other set to be LCR (so A3 and A2 are swapped). (NB there used to be a bug on A16 of adaptive tracks - not sure if they fixed it.)
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‎Mar 14, 2023
07:50 AM
Sorry just saw your later reply. You need to figure out the track assignments of the source - certainly looks mixed up by the waveforms. You can still use 6ch adaptive tracks and route the source tracks correctly for your deliverable (typically either L,R,C,Lfe,Ls,Rs OR L,C,R,Lfe,Ls,Rs). The 2.0 (stereo) clips you could route to just L and R outputs, OR you'll need to upmix them if you want them to be 5.1. There's various plug-ins, but I've never used them in PP. NB You kind of need to work back from the deliverable. My deliverables have always been discrete tracks in an MXF OP1a file - they get played to air pretty soon after we deliver. Indeed we can play to air directly from the NLE.
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‎Mar 14, 2023
07:41 AM
Depends on what your deliverable is. e.g. if you are provided with 8 channel sources (5.1 & 2.0) and need to deliver the same then modifying the clips to be 8 channel adaptive and using a multichannel sequence would be the easiest way. If you have to do anything more than simple edits then it gets more complicated....
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‎Mar 14, 2023
03:12 AM
1 Upvote
'Export as project' does the same thing. I think Adobe have previously said this is deliberate. Trick is to export / save as outside the production folder (and then 'add to project' if you need it in the production) or just right-click + 'make a copy' within the production window. Not sure what happens to clip linkage though - which is the danger within a production.
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‎Mar 14, 2023
12:59 AM
I think it's manual. Maybe Excalibur might have something to offer? Resolves implementation of metadata variables (eg %StartTC, %Scene etc) in various parts of the interface (including clip name as displayed in the timeline) would be a great inspiration here.
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‎Mar 14, 2023
12:54 AM
I put this in the beta forum but may be relevant here, as folks get to grip with the recent colour transform developments... Media Encoder, like PP, has a global 'auto detect log color space' toggle in General settings. This is NOT LINKED to the PP 'auto detect log color space' setting and also appears to be locked in at the moment the sequence is 'sent to media encoder' - either by direct keyboard command or via the export tab. (i.e. if you change the AME AutoLog toggle after it is in the AME queue the interpretation in the sequence export will NOT be changed) Thus it is VERY LIKELY that exports that are sent via media encoder will NOT MATCH the levels/colour in PP unless PP and AME have the same AutoLog settings. I think these settings are per machine - so in shared environments would need to be set across all machines and also would need to be re-enabled if/when preferences are reset. I can see this getting very messy on bigger shared projects with multiple editors with multiple source colour spaces. Maybe the AutoLog setting should be with the ToneMap choice and be per sequence, maybe with an individual clip override. Also an edit index (like Resolve) where you could view/sift/select/change these settings compared against metadata would be very useful.
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‎Mar 13, 2023
05:46 AM
2 Upvotes
PP23.4.0 BETA (build 15) MacOS 12.5 So AME, like PP, has a global 'auto detect log color space' toggle in General settings. This is NOT LINKED to the PP 'auto detect log color space' setting and also appears to be locked in at the moment the sequence is 'sent to media encoder' - either by direct keyboard command or via the export tab. (i.e. if you change the AME AutoLog toggle after it is in the AME queue the interpretation in the sequence export will NOT be changed) Thus it is VERY LIKELY that exports that are sent via media encoder will NOT MATCH the levels/colour in PP unless PP and AME have the same AutoLog settings. I think these settings are per machine - so in shared environments would need to be set across all machines and also would need to be re-enabled if/when preferences are reset. I can see this getting very messy on bigger shared projects with multiple editors with multiple source colour spaces. Maybe the AutoLog setting should be with the ToneMap choice and be per sequence, maybe with an individual clip override.
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‎Mar 12, 2023
10:15 AM
Thanks Neil Adobe did a call the other day and showed the yet to be released version of the beta with the CST controls gathered together in one place on a Lumetri settings tab - with some controls for the tone mapping too. Can't remember if it was tone mapping per clip, hopefully so. There were requests for global + individual clip CST bypass options, so hopefully they took that on board. Also there's some question over how the settings carry between projects/users in multi-user productions or team projects. This was a mess between different versions of PP when it was applying LUTs so hopefully they'll avoid that. All in all it's looking interesting + Adobe are definitely listening.
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‎Mar 10, 2023
11:23 AM
Thanks for the response. I presume you didn't check out the gif? I haven't mentioned LUTs because this was a quick check of what the AutoLog and ToneMap settings do to an image. I'm interested in what PP colour space transforms (that, although not LUTs, are effectively high point count LUTs). Inserting a PNG in an MXF is a bit cludgy, but it was the only way I could figure of getting some consistent colours flagged as Slog3.Cine3Gamma. if anyone has a better idea I'm all ears. It's also going to help see the effect when the tone mapping adjustments are introduced. Obviously how it affects pictures is the acid test, but any proper grading I'm still most likely to take to Resolve.
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‎Mar 09, 2023
07:28 AM
1 Upvote
So this effect is pretty good now - similar to Avid - but would be good to have some global controls - eg scale, position, text size, padding, styles, templates etc - suspect it'd be better taking its inspiration from essential graphics panel. Also best if it can access any metadata.
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‎Mar 09, 2023
04:16 AM
Took some EBU HDR colour bars - inserted them into an existing Slog3.Cine3Gamma flagged Sony XAVC MXF file (thanks to Avid insert edit export) - then put in a 709 PP timeline to see what the results of various AutoLog and ToneMap options are. Mostly a science experiment so I could get my head around what is occuring - but maybe useful to others figuring out the workflow. The original bars are not designed for Slog3.Cine3Gamma, so the colours will not land on vectorscope targets, plus the export is to a PNG file so levels may be clipped where they wouldn't be to a YUV file. NB the GIF shows inline when I edit - but not when message is posted, so attached as file.
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