What often works well is to use the HQ codec for preview and render with that as a "master" - then use that file to render to your H264 deliverable. The total render time is often the same or less than a render straight to H264. Also, if another deliverable is needed you can render from the "master" and not have to re-render all the effects again - definitely quicker. ... View more

Right - that's why you set your previews to your render codec. When you do that the render is actually a stitch of the render files and goes much faster. There is no loss of resolution when you work this way. ... View more

I've not had the problem but - you could try setting your preview codec to be the same as your render codec and clicking the "use Preview" box on render. This will speed up your renders as well. ... View more

You may want to look into Vegas to prep your footage. The advantage would be that Vegas can be scripted to do a variety of things. I have heard there are several parachute jump companies using that feature to sync cameras from jumps. ... View more

Have you tried looking at them i After Effects - it may give you a little more info ... View more

That needs to start prior to the shoot. Make sure that all your cameras/recorders have their TC generators set to free run and set them as close as possible to the actual time. It will shorten your syncing process considerably if the recorders do not start and stop during the taping. If they do, you will have to figure out the offset - the difference in time code for each real - and use that to try to get the rest of the clips in sync. Of course if you can have something that is visible to all of the cameras - even for  second, that will provide a sound and visual clue - like a film clap board - that will make your life much easier. ... View more

There isn't much that can be done with VHS content. You can try an unsharp mask filter. Maybe take a look at Red Giant's "Instant 4k" but there just isn't much you can do with so little resolution. ... View more

Audition is definitely better - you can select the audio file and go to Edit-> edit in audition. It will send a copy over ... View more

While in the Premiere project go to File->new. One of the options is Photoshop document. It will create a photoshop file at the dimensions of your timeline. You can edit that file and place your logos and type where ever you want. ... View more

I do not remember havng problems syncing AE or PP. Even between accounts it has worked for me. ... View more

As with most software you need to think of it as a printed book. You can carry it around and use it wherever you want. You can't make a copy and leave one at home and one school. You can have it on 2 machines, but only one being used at a time. ... View more

I downloaded MP3Tag and that seems to work fir what i need. The interface is incredibly confusing and the help file is probably fine if you just need to remember how something works, but terrible to try to figure it out from scratch. That said, it will let you use a CSV file to batch import tags for an entire directory of files. It has plenty of limitations, but it is working for what I need on this project. ... View more

So I repeat - you have no desire to learn about the tools of your supposed craft. I have worked for over 40 years doing this - starting with Quad tape - something you've probably never heard of. I've worked for 3 major networks and countless productions. But you are obviously light-years ahead of us peons. ... View more

OK so you have no interest in understanding what time-code is. You are asking it to do something it was not designed to do. Computers started editing back in the late 60's, I started in the early 70's. Writing database programs too, by the way. Duration is not what time-code is for. It would help you to learn a little about the history of your craft before you go ranting and degrading. ... View more

"the point is that time code duration has ONE MAIN PURPOSE: the real world run time" ABSOLUTELY INCORRECT - the purpose of time code has always been to allow frames to be marked and accounted for in a computer data base. Just because you do not understand this art of post production, and you would like it another way does not mean that is what it is for. I would imagine that time-code is older than you are - they started in 1967. Drop-Frame Time code was created to correct for the problem you are complaining about. . ... View more

i was assuming he needed to make some adjustments that required AE - if not I agree. ... View more

From Broadcast Equipment suppliers - they run around $60k though - so you'll need to save your quarters ... View more

Digital Video Effect units - they started out in the stone age of TV - around 1980. Originally they could scale video and move it on screen. Then they got a little more sophisticated and added drop shadows and other bells and whistles. Then they started with perspective with the Abekas units. Then Grass Valley came out with the Kalidescope that could convert, re-sample, noise-reduce and do 3D all on the fly. They have just been growing in capability as has everything else. They sit in equipment racks along with the switchers and camera control units. Most everything in the broadcast world consists of specialty devices. Although there are exceptions as many switchers now have DVEs incorporated along with audio so you can have sounds with your visual stingers and wipes. They also have very capable macro units that allow for complex set-ups to be recalled and transitioned with a single button press ... View more

They also use DVEs which are designed to manipulate video in real-time in 3D ... View more

My understanding is that feature is still in development - the old version is still available with that feature ... View more

They said all current versions would work for whatever time you paid for them. ... View more

Sounds like it - make sure you  use a copy so you can keep you current state of things if this messes things up! ... View more

That is the sequence i was referring to - wherever sequence you started with to get to be able to edit a Multicam ... View more

Can you not just copy the audio from the "original" sequence and paste it into the flattened one? You would need to sync that up, but if you group them you should only have to sync one to them all to sync. Then just delete the "multicam" audio. Of course I would copy your finished sequence and try all this on the new one so you have a fall=back ... View more

Can you just copy all the synced audio and paste it into a new sequence and then add that to your flattened multicam edit? Sorry - mileage thing was just a joke. Often things that should work - don't ... View more

Does all the audio sync - all started and stopped together? Or can you sync it in a separate sequence? Maybe match to one event then put a marker on one track that you can match the others to. Then dump them all in the timeline. If you created a separate sequence then change the timeline switch so the sequence comes in as individual clips. That should work. Of course - your mileage may vary ... View more

When you say you couldn't correctly drag the audio into the timeline - was the timeline and audio track set correctly to allow this? All the audio channels should be able to be added as separate channels depending on the audio patching, default audio track settings and the type of track in your timeline. You should be able to add an adaptive audio track to the sequence and then add the multitrack to that - or multiple mono files and modify the audio channel settings on the clip. This may require creating a new sequence and copy/pasting the clips from the sequence you made previously into it. ... View more