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Jarle Leirpoll
Enthusiast
Jarle Leirpoll
Enthusiast
Activity
‎Oct 31, 2018
03:47 AM
2 Upvotes
When you export DNx files from Premiere, they will always be multi-track mono, not stereo. There's no automated way to make Premiere interpret these mono tracks as stereo without importing every other mono clip as stereo too. This setting will make Premiere do what you want, but it will affect all other mono sources you import too. You can select ll the clips in one go and hit Shift+G to interpret all clips at once. Question: Why have you chosen n DNxSQ? I belive it's only 8-bit, so I would choose DNxHR HQX, because it's 10-bit. You can make your own HD size presets if you need to.
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‎Oct 31, 2018
03:28 AM
1 Upvote
Just a thought – I haven't tried this, but it might work as a manual "proxy" solution: Use Smart Objects in Photoshop to store the full res files in 4k PSDs. Copy all the PSD files to another folder named "PSD proxies" Flatten those files, which makes them 4k Import the flattened files in Premiere. When the original files are graded and finished, make the "proxy" files offline, and re-link to the originals. And I just have to mention this: DPI is totally irrelevant. Only pixels count.
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‎Oct 28, 2018
09:06 AM
1 Upvote
What you see in Premiere Pro is not wrong–it's Rec.709. So you will only see correct colors when your monitor is Rec.709. Most monitors are not. The new Display Color Management feature in Premiere attempts to show you a better (not perfect, because it's not possible) representation of how the video will look on a Rec.709 monitor when you're using a monitor that is not Rec.709. It's a feature for the pros that deliver their videos to Broadcasters. I've tried to explain what the Display Color Management in Premier Pro does here: How Display Color Management in Premiere Pro works - PremierePro.net When you're sending your Rec.709 videos to the great Interweb (or to QT Player and other color-ignorant players) to be watched on an sRGB monitor, you're letting go of all control. The player decides how to display it. Using the sRGB gamma (and maybe even 16-235 levels) for video that is shot, edited and exported in Rec.709 will make it look washed out. That is what you're seeing in most players and on most websites, and it's been like this forever. And it's got nothing to do with the new Display Color Management feature. Here's an interesting test you can do: Import your test footage into FCPX. Export an h.264 file. Import that file into Premiere Pro. What colors and levels do you see?
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‎Oct 08, 2018
07:44 AM
Thanks for sharing your template Trevor. I've found audio flattening to be very reliable when I choose Automatic for the Sequence Preset, and All Cameras and Mono for the audio settings. This makes sure every track gets its own output, which is almost always what you want. It also makes all the Waveforms display properly, since no mixing is going on, and this has the added benefit of saving on computer resources. I've seen editors try to outsmart the multicam syncing by using custom sequences, with catastrophic results. I've never seen it fail using the settings above. If you have a project file where this method fails, I'd like to dig around in it if you're willing to share. Your workaround of copying the synced clips to a custom sequence will of course also work, but it's an extra step we shouldn't have to do. Also, thank for the links to other discussions. I agree that one should read up on the problems people have with this workflow, and avoid the pitfalls.
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‎Oct 08, 2018
04:46 AM
1 Upvote
I guess it all boils down to what you like the best. It amuses me that she makes a point out of how quickly she can merge clips when she maps a keyboard shortcut to the command. Then she explains how horribly time-consuming flattening un-linked audio is when using multicam, because you have to go into a right-click menu twice. If she had mapped a keyboard shortcut to that command, she'd be working a lot faster with that method. While the workaround of exporting an XML is a nice hack, it's still another step that takes time. This only shows that we're all human. We take the time to map keyboard shortcuts to our favorite commands, but we kind of insist on keeping the workflow we don't like as horrible as possible. This confirms to us that we've made the right choice. Personally, with the knowledge that AAFs with Merged Clips do not work out of the box, while AAFs from multicam clips do work, my choice is to use Multicam syncing.
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‎Oct 03, 2018
09:45 AM
I don't think the processor in the Mac pro is supported for hardware decoding of H.264. It's not the GPU that will do this, it's a chip on the CPU. Have you tried trashing your media cache, and the media cache database, manually ? Even if you have a separate folder for this, there may still be some files in the default folder. I'm not sure where it is on macOS, but on Windows its located here: ~\AppData\Roaming\Adobe\Common
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‎Sep 05, 2018
10:51 PM
Rest assured that the Premiere Pro team is aware of these issues, and are working on fixing them. I agree it's long overdue, though.
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‎Sep 04, 2018
11:05 PM
1 Upvote
Great! You could also try 200% scaling. That should be safer than the 150% one.
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‎Sep 03, 2018
10:53 PM
Just a thought: Do you have any kind of UI scaling going on on your computer? If so, does it help to set it to 100%? What about 200% I have seen some weird UI issues on Windows when the UI is scaled to 150%. It's quite common on high-res monitors to scale the UI because the icons get so small at 100%.
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‎Sep 03, 2018
08:43 AM
1 Upvote
You decide how Premiere interprets the audio yourself, so I have no idea how your Premiere Pro interprets audio. You'll have the answer in your Timeline preferences. So does Premiere just not allow multichannel exports with several pans then. It can export multi-track audio. You don't have much control over how video player software interprets these tracks, and how they're panned. A broadcaster may want 8 tracks, where the first two are stereo, and the rest are mono. When they use it, they will have their software set up to pan some tracks to the center and some to left or right. Premiere itself will interpret them as mono by default if you re-import the files, but you can change this, and you can also pan them any way you want. But if you want the audio to be panned in a certain way when you edit or play the timeline, you will have to have a sequence set up correctly, with Multi-channel output, not stereo or 5.1, and all the tracks must be routed correctly. If you have this, you can just drop the file in the sequence and hit Play. Remember: All this is just metadata. In the end they are all just tracks of audio. All of them are the same! A stereo pair is just two mono tracks tagged in the metadata as stereo. Because of this metadata tag, most players know what to do with them, and will pan them left and right. The panning of multi-track audio can only be tagged in the MOV container. See screen shot of Audio tab in Export Settings. That doesn't mean other formats won't work. If the playback software is set up accordingly, everything will be panned correctly. They're all just audio tracks, anyway. But that's not something you can do when you export, it's something they do in their software.
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‎Sep 01, 2018
03:30 AM
However when I listen to the file or import it again in Premiere now the channels are no longer panned left / right. They are all playing both left and right. It seems like Premiere is not saving this information on export or is exporting it as both left and right channels. That sounds like a normal behavior. Mono tracks are panned to the middle by default. Also, when panned to the middle, their level will be reduced by 3dB because they're now in two speakers. If you want the imported mono tracks to be panned left/right and to 1-2-3-4, you will have to put the clip in a timeline where this routing is already done. In short, if I'm not misunderstanding something, I believe your export is working as it should.
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‎Aug 30, 2018
11:16 PM
You keep referring to Max bit rate. I assume you mean Maximum Bit Depth. I'm surprised that 32-but effects give you the same issue. Is your sequence set to Max Bit Depth? And are you sure you rendered the timeline before you looked at the scopes? If you could provide a sample clip, and possibly a simple project with a timeline that shows the issue, I may be able to help. If not, I'll have to do a lot of guessing, which is not very helpful. I don't understand what you mean by this sentence, BTW. "I'm also finding that comparison view isn't reading Max bit rate when viewed".
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‎Aug 30, 2018
02:49 PM
It's hard to see the settings in your Effect Controls panel, because it's so narrow. Did you use a blending mode? Also, I have no idea what color your original clip actually has. But yes, it's normal that rendering in 32-bit and in 8-bit gives different results - especially if you have overbrights. Could you share a small project with a clip or two that shows the problem?
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‎Aug 30, 2018
02:44 PM
That explanation is a bit simplified. The red bar almost always means you've added an effect that causes it to render in software mode, which means it will be rendered in 8-bit unless you change your sequence settings to Max Bit Depth and render the section. The only exceptions are very few GPU accelerated effects that work in 32-bit, but still need rendering, like the Morph Cut. I explain this in great detail in The Cool Stuff in Premiere Pro.
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‎Aug 30, 2018
11:59 AM
Looks like you've not checked Max Bit Depth in your Export Settings.
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‎Aug 30, 2018
11:58 AM
That is to be expected, when you have a red timeline. This means the effect is rendered in 8-bit, which will introduce banding. Yellow line means it's rendered in 32-bit. You can set Max Bit Depth in Sequence Settings and render that part of the timeline, and it should look OK. But not until you render. Remember to also use the Max Bit Depth setting in the Export panel, or your exports will have banding, even though your timeline looks good.
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‎Aug 28, 2018
12:08 PM
Can you provide a screen shot of your Sequence settings and your export settings (showing the audio tab)?
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‎Aug 08, 2018
01:47 PM
Did you ever change the default interpretation of audio channels in the Audio Preferences? It sounds like Premiere used to interpret them as stereo, and is now interpreting them as dual mono. Try changing the Stereo interpretation from Use File to Mono.
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‎Aug 08, 2018
02:17 AM
Neil, Premiere will automatically add new tracks if needed. So there is something else going on. But I need a better description of the workflow before I can help.
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‎Aug 07, 2018
01:19 AM
1 Upvote
I'm not sure I understand this. 1. I've never heard of ProRes 244 PAL. PAL is 50i, 720x576 pixels, and you're probably not cutting SD material. I hope you mean ProRes 422, 1920x1080 at 25fps? 2. There's no way Premiere can know what kind of sequence you want to add a clip to when you import it. So I'm guessing that you can import the clips, but that the problems happen when you try to put them in a sequence? Can you provide a more accurate description of the steps to reproduce the problem? Screenshots are very welcome. I'd like to see the edit sequence when a problematic source clip is selected in a bin or in the source monitor. Also, your sequence settings, and the error messages you get.
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‎Aug 06, 2018
01:50 AM
I've never experienced this, and I don't know what the cause could be. I tried it again on my system now, and I was not able to reproduce the problem. I'm on Premiere Pro CC 2018 version version 12.1.2. Make sure you report the problem to Adobe: Premiere Pro: Hot (1997 ideas) – Adobe video & audio apps
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‎Jul 16, 2018
01:46 AM
1 Upvote
Yes, you need to use After Effects for this. If you use a Checkbox Control you can use this expression on the Opacity of the layer: effect("Checkbox Control")("Checkbox") * 100 This takes the output of the checkbox (0 or 1) and multiplies it by 100. Off means Opacity will be 0, On means Opacity will be 100. You can also use a Slider Control, and an if/else statement or a rounding expression to make it always output 0 or 100.
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‎Jun 26, 2018
11:09 AM
1 Upvote
Hi all, here's a method I think would work. I'm on the road, and don't have multicam material with me, but I tried it with some stereo clips set to mono. Select the clips in the bin and hit Shift+G to get the Modify > Audio dialog. Select Stereo in the preset list. Create your multicam source sequence using the Create Multicam Source Sequence dialog Select the clips again, hit Shift+G and set them to Use File Drag your MC Source Sequence to your editing sequence To do a Match Frame, hit F twice and click the Waveform icon under the video in the Source Monitor This should give you access to all the audio channels in the source. Let me know if it works. It worked for me with Stereo files set to Mono. Another tip: Make sure you have the Write XMP ID to Files on Import preference set before you import even the first clip. This writes an ID to each file, which completely wipes away any re-linking problems you may have when moving the project around on different systems, different servers etc. There are a lot more seemingly innocent settings like this that can cause problems in your project. If you take the time to read The Cool Stuff in Premiere Pro before you start editing, you will save many days of work on a feature film. The Cool Stuff in Premiere Pro - PremierePro.net Use the code PREMIERE20 to get a 20% discount.
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‎Jun 05, 2018
02:38 AM
1 Upvote
I have not seen this documented anywhere, but I learned it from the After Effects Project Manager. 🙂
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‎Jun 03, 2018
01:06 AM
2 Upvotes
Motion Graphics templates made in AE do not support fields, so you need to double the frame rate of the MOGRT. To make a MOGRT for a 50i timeline, create a mogrt at 50p. To create a MOGRT for a 30i timeline, make a 60p MOGRT, etc. Remember to set the Motion Blur to 360 degrees when you do this, to match the motion blur of video and other elements shot at 50i or 60i. The workaround that was described (to add black video under the MOGRT) will work for MOGRTs that are not made at double frame rate, because it forces Premiere to mix/render the two clips together, and in an interlaced timeline, the result will be an interlaced clip. But if the MOGRTs are made correctly, this workaround isn't necessary.
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‎Mar 28, 2018
10:13 AM
1 Upvote
You'd have to copy the takes to other sequences one by one, and then enable multicam on those. Which is why everyone uses the Create Multicam source sequence option instead.
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‎Mar 28, 2018
06:10 AM
You can sync in the timeline, and then enable multicam on the clip (sequence) when you put it in another sequence.
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‎Mar 22, 2018
11:32 AM
So when you have a merged clip, do your audio and video start and end at exactly the same time? That would be highly unusual. If not, when pressing Q or W, you will have either audio or video extending (as shown on my video tutorial) before or after the cut, and you'll have to delete it manually. That is not what I'd call "working". It's not working as well as with multicam clips, where audio and video are, per definition, the same length. If you really have Q and W working well on Merged Clips, I'd love to see a screen recording of it, and I'd like to see screen shots of your preferences too. If it's possible to make it work, I'll need to change some sections of my book. XML does not have the same issues as AAF when you export after using Merged Clips, so that is as expected. Plus, I never said that the original file names would be lost. I mentioned Metadata, not file names, so that's also no surprise.
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‎Mar 20, 2018
01:25 PM
1 Upvote
Also, Merged Clips strip out all the metadata from the original files, so the metadata is lost in XML, AAF and OMF exports. So if metadata and markers are important, you should be aware of this.
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‎Mar 20, 2018
01:23 PM
1 Upvote
Hmmm.... Merged Clips does NOT work fine with Q and W, since the Audio and Video are of different lengths. With multicam clips they're the same length. Merged clips will probably not give you any problems while editing a large project. It's when you export this project to AAF or OMF that the problems start. This is NOT when you want to have trouble. Syncing with the Multicam method or the Merged Clips method are pretty much the same if you don't have audio on the video clip, unless you have common Timecode on both video and audio, in which case the multicam method will be many, many times faster, since you can sync all the clips in one go.
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