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Walking yesterday. Crawling today.

forums_noreply@adobe.com — Wed, 08 Oct 2014 17:04:52 GMT

So I upgraded to the latest update of Premiere (with the violently different looking GUI), after of course doing my usual dance of having to uninstall CC, run CC Cleaner, rename my OOBE folders and reinstall CC (Really Adobe? We're going on 2 years and I still have to do this every time CC Desktop updates? Really?) and suddenly I am crawling editing the same footage I was working on yesterday with no issues.

Has anyone else noticed a performance decrease? Basically i will click on a sequence tab other than the one i already have opened and it will sit and spin until I End Task on Premiere.

The only other thing I can add is I recently arranged my raw clips in a fairly deep folder structure >> Movie/Scene/Shot/Take/raw Clip >> not sure if this is hindering Premiers ability to find the clips or not.

One other strange, probably unrelated, thing I have noticed (even pre-update) is that I will have a row of sequence tabs open (sequences that actually feed into a subsequent sequence) - in a very specific order - and no matter how many times I save the project, when i reopen it half the tabs are gone and the remaining ones are out of order. Anyone else dealing with that anomaly?

I would list my system but I'm not sure it applies since my key point is things were moving along fine just before I updated this morning.

Just looking for some general insight.

Thanks.

Media Cache Drive

forums_noreply@adobe.com — Wed, 29 Oct 2014 17:24:25 GMT

Considering adding a 4th drive and pointing my media cache files to it as everyone suggests - but I have a few questions for anyone currently practicing this ideology...

• I am assuming of all the drives this one is rarely the bottleneck - am I off on that?

• Looking to go down and dirty -- what is the minimum speed and capacity I can get away with on this drive? (editing shorts and features from 1080p HD footage)

• Can you specifically spell out (screenshot?) exactly what I should be pointing to this 4th drive - I'm always a bit fuzzy in this area especially concerning nomenclature (previews, media cache, pagefile, etc) and where to manage this stuff in the UI.

Thanks.

Adjustment Layer + Ellipse Mask = Crash

forums_noreply@adobe.com — Wed, 29 Oct 2014 17:56:20 GMT

Adobe Premiere Pro CC 8.0

Discovered an interesting easily repeatable bug on my end.

I'm not sure how innovative of an approach this is - but it made perfect sense to me to use an adjustment layer as a power mask - set my mask size and placement up one time via the adjustment layers opacity - and then throw all my effects onto the adjustment layer to "affect" that same single masked area. The alternative to this, in order to affect the same masked area with different effects, is to drag multiple effects onto the sequence or footage itself and then set up each of their masks to cover the same general area. Obviously much easier and I would assume much less intensive (one single mask over your clip instead of multiples directly on it) to do the former.

Anyway this adjustment layer as power mask approach causes Adobe Premiere Pro CC to crash.

Please (please) note that when I abandon this approach and just put "effect(s) with mask" directly on the footage/sequence itself - I'm fine and can continue to work as normal -- and -- I consistently use adjustment layers with effects sans masks throughout without issue, so no worries there.

Much trial and error revealed it is specifically the adjustment layers with ellipse masks enacted on their inherent opacity that cause the issue.

Dream build for Premiere Pro CC 2014 feature film editing...

forums_noreply@adobe.com — Thu, 09 Oct 2014 01:46:10 GMT

How does something like this feel?

Case
Something "silent"

Power-Supply

850w quiet

Processor

Intel i7 Haswell Extreme CPU

Clockspeed 4.4GHz

Cores 5960X = 6 (16 threads), 5930k = 6 (12 threads), 5820k = 4 (12 threads)

Cooler 280mm

Memory / RAM

64GB (max)

DDR4/2133 CL-15

Quad Channel

Motherboard

Chipset Intel X99

PCIe 5

PCI 0

SATA 10 SATA-III

eSATA 1

USB-3 6

USB-2 6

LAN 10/100/1000 Mbps

Video Card

GTX-780Ti (maybe ?)

What is the biggest baddest "supported" card right now for Pro CC?

List of Posts concerning performance issues after Premiere Pro CC 2014.1 8.1 Update

forums_noreply@adobe.com — Mon, 20 Oct 2014 17:57:30 GMT

This post is an honest effort to gather in one place links to similar original posts concerning systems that were working perfectly fine but then suddenly started (1) sluggish unresponsive performance and/or (2) intermittent crashing immediately after installing Adobe Premiere Pro CC 2014.1 (8.1 Update)

Please look through my post to make sure your situation truly is similar and then make sure your original post contains all of your pertinent system info as the idea here is not only to show the weight of numbers but also to serve as a solid unified reference point.

Try to keep your response to just the OP link if able.

I'll show you mine if you show me yours:

Walking yesterday. Crawling today.

YC Waveform Zero Baseline

forums_noreply@adobe.com — Fri, 31 Jan 2014 06:43:25 GMT

So I noticed that when I pull in footage (often from the same day/shoot/location/hour) and throw up the YC Waveform monitor - some clips have the solid green thin bar at the far right of the monitor screen pinned" at the zero tick mark. This is to say no amount of sliding ro curving makes that vertical rule lift off of the zero line. However... other clips that I monitor I am immediately able to lift the green bar up off of the zero and up to say "16" with no problem.

What is determining whether that baseline can be raised or not, from one clip to the next, when CCing footage from the same shoot on the same camera.

Secondary Color Correction Eyedropper

forums_noreply@adobe.com — Fri, 31 Jan 2014 07:47:22 GMT

When I use the eyedropper to build a secondary color correction mask (rgb curves, three-way, etc) I have to click the eyedropper with the + and then go over to my source monitor and click on the portion I want to build the mask for. If I need to select multiple colors to dial in the mask further I have to keep going back over and clicking the little eyedropper + and then back over to the source monitor and back and forth over and over again.

I know there is a better way, or at least a short cut to reselct the eyedropper +

What am I missing?

A few color correction/grading "steps" questions...

forums_noreply@adobe.com — Wed, 06 Nov 2013 21:57:21 GMT

(1) I see some suggested ordered lists for CC/G have sharpening coming after film stock. Does that mean something different than a film grain overlay? It seems potentially dangerous to sharpen film grain so I thought I'd ask.

(2) Also this leads me to wonder when to apply a film grain overlay, depending on where you place it in your flow it can create issues including fading to black (you see gray film grain instead of the grain fading with the image).

(3) Is it ever a common practice to do a stagnant subtle vignette across an entire film... or more typical to vignette on an individual clip basis based on subjects/content?

(4) Sharpen or Unsharp Mask?

(5) I understand secondary color correcting skin using the vectroscope - I get where the skin tone lien is - however I've always been a bit lost on how far forward to push (or pull back) the color once its on the line. Preference? Important to keep that onsistent across clips of a scene I'd assume.

Lastly as I am embarking on one of the larger projects of my life I wanted to mention that Jim Simon's insight into my question here (http://forums.adobe.com/message/5522489#5522489) is working great in practice and has been a huge boon to my production.

Thanks.

Color Correction Workflow Question

forums_noreply@adobe.com — Thu, 14 Nov 2013 01:17:28 GMT

If I am color correcting on the "original clip" - and then pulling that color corrected "original clip" into its own "clip sequence" that I then pull into a "master sequence", along with all the other "clip sequences" that make up my edit, and I am trimming those "clip sequences" to get just the snippet I need...

Is that creating a longer rendering time than if I...

Do not color correct on the actual "original clip" - still put the "original clip" into its own "clip sequence" - trim and resize that "clip sequence" to just the snippet I need, and then do the color correcting on that "clip sequence" instead of the "original clip" itself?

I'm hoping there is no descernable difference in the approach, but I thought I'd throw it out there.

Thanks.

Art of DeNoise

forums_noreply@adobe.com — Thu, 14 Nov 2013 01:09:47 GMT

I wanted to scrape the group for some general mindset and workflow questions concerning denoising.

I prefer to work exclusively in Premiere (CC), and I have Neat Video.

So when you have 100 clips and you are sticthing them together in a master sequence - would one go in and denoise every single individual clip no matter what? Would one pick and choose individual clips that need denoising (clips with lots of sky or something)? Would one not touch the individual clips and instead do a denoise on the master sequence so its hitting all the clips. Or is it perhaps a little of all of the above. For instance denoise individual clips that have obvious noise, but then also do a master denoise across the entire group of clips that targets shadows or something? All pre-color correction of course.

Should one aim for skin when denoising - or leave that alone? Other common or typical problem areas to always check for?

I've also heard about aiming for shadows to soften them, but I have no idea what that really means or how to achieve that.

Any other general thoughts and work ethic insights when it comes to denoising footage - in prep for a more filmic final product.

I know everyone's situation is unique, and its all about experimenting, but I'm just seeing if something sparks me in a direction I hadn't considered.

Thanks.

Sequence of 4 tracks affecting an individual sequence for each track

forums_noreply@adobe.com — Wed, 03 Jul 2013 10:27:31 GMT

I have a master sequence with 4 stacked tracks of original/raw footage. I have chopped up all the footage on the various tracks into clips to get my edits how I’d like them.

Now I’d like to turn each track (of chopped video) within this master sequence into it's own new sequence so I can color correct the track of clips individually (each track is a different shot and requires its own color correcting).

The problem is when I do this via nesting – nesting each track from my master sequence individually - my master sequence then contains 4 solid/locked tracks which yes I can easily apply separate color correcting to – BUT – I can no longer edit the chopped clips on each track. Each track of edited footage (clips of video with gaps between them) have been scooted away to their own separate sequences. This is to say I no longer have a master sequence with 4 "stacked" tracks of edited clips that I can slide or stretch around.

Is there a way to have a sequence of stacked tracks – that when cut, stretched and slid around (re-edited) will automatically affect corresponding separate individual sequences of those clips.

The goal is to always be able to edit the tracks of stacked raw clips together in a single sequence and have those edits simultaneously being reflected in other individual color corrected sequences.

Remember I have to color correct each track of clips from the original master sequence separately/differently. So what I am trying to achieve is vastly different than grabbing all of the tracks/clips on Sequence A and nesting them into one new locked sequence for color correcting.

Thoughts?

p.s.

If it helps clarify - one work around to my problem would be to have taken each original/raw track and apply the color correction to them prior to editing - however this taxes ones system - when making future further edits - far more than editing raw clips with no effects applied to them.

I could also apply the color correction to each track prior to editing and then export/render them out and bring them back in as new clips - and do my edits with the baked in color corrected footage. I'd rather not do this for obvious reasons.

AMD Radeon HD 6990 vs Mercury Playback Engine

forums_noreply@adobe.com — Fri, 21 Jun 2013 22:40:48 GMT

I just installed an AMD Radeon HD 6990.

I am using Adobe Premiere Pro CS5.5

My Mercury Playback Engine "GPU" choice does not show up in Premiere.

I tried the hack.

Nothing.

I see my card is not listed in the http://www.adobe.com/products/premiere/tech-specs.html list, however older and less powerful models from within its same family are.

First of all, do I need to upgrade to CS6 to even enable Open CL type cards? And if so is there a chance the hack will then work?

And if upgrading is the only Open CL answer - is there a way to upgrade from CS5.5 to CS6 without getting involved in the creative cloud kookiness?

Thanks for any and all insight - I simply want to edit footage within Premiere while utilizing my more than adequate GPU.

Premiere Workflow Final Product Quality Question - General

forums_noreply@adobe.com — Sun, 23 Jun 2013 00:44:24 GMT

Clarification: This is just a general workflow question regardless of hardware/software/cpu/gpu. I'm also not asking about rendering times - just how the final product looks.

Do any one of the following 3 workflow methods have any bearing on the "quality" or "look/feel" of the final output of a project.

Specific effects are named in my examples just for the heck of it - the root of my question is if any given workflow with any given effects applied affects the quality of the final export/render.

#1) Raw Clip => Apply Sharpness => Apply Levels => Apply Three-Way CC => Export final product.

#2) Raw Clip => Apply Sharpness => Export Clip => Import Clip => Apply Levels => Export Clip => Import Clip => Apply Three-Way CC => Export final product.

#3) Raw Clip (sequence 1) => Apply Sharpness => Create sequence 2 and drag sequence 1 onto it => Apply Levels to sequence 2 => Create sequence 3 and drag sequence 2 onto it => apply Three-Way CC to sequence 3 => Export sequence 3 as final product.

One Hour TV Show Structure

forums_noreply@adobe.com — Tue, 12 Jun 2012 01:44:50 GMT

Trying to crack a bit of a nut that seems to be more well-guarded than the location of the Holy Grail in my rather extensive internet searches.

I am trying to edit existing footage down to a precise one hour format.

This is to say I am editing it into several acts (that will need precise lengths) and leaving black gaps (that will need precise lengths) for several commercial breaks.

It seems like this would be a pretty imperative bit of information since an act that runs 9 minutes would have to be edited significantly (possibly detrimentally) differently than a 5 minute bit between two commercial breaks.

Now I also understand that this elusive "structure" may vary a great deal from network to network – so I am simply looking for a way to ball park simulate it.

Does anyone have any real world experience with having to do this – and better yet perhaps just one legit example or template that has seen actual battle?

Something like (just a fictitious example):

Teaser - 2:00

Title Sequence - 1:00

Act I - 5:00

Commercial - 3:00

Act II - 5:00

Commercial - 3:00

Act III - 10:00

Commercial - 3:00

Act IV - 10:00

Commercial - 3:00

Act V - 5:00

Commercial - 3:00

Act VI - 5:00

End Credits - 2:00

Thanks in advance for any experienced direction.

DVCPROHD 1080i60 importing incorrectly (ratio)

forums_noreply@adobe.com — Thu, 29 Mar 2012 00:42:21 GMT

I've created a new project, set it to DVCPROHD 1080i60 - imported a DVCPROHD 1080i60 MOV to the asset library - dragged it to a new sequence.

Unfortuneatly it is incorrectly displaying vertically "squashed" in the monitors and rendering the same.

So what odd little hidden settings checkbox am I missing?

Thanks in advance.

Magic Bullet Frames Workflow

forums_noreply@adobe.com — Thu, 22 Sep 2011 20:27:30 GMT

Does anyone have any experience, or a general feel, for the best workflow when using Magic Bullet Frames 1.1 from within PP5.5 with 24p conversion being the ultimate intended goal?

Using DV source material.

I have done a deartifact, a color treatment and a 24p-deinterlace (stacked in that order in the effects tree) in one pass/render.

But - I have also heard you should break up these steps and do them individually - so do a non-24p deinterlace as one render, dearticfact as another, and then color treat as a render, and then 24p convert on a fourth pass.

Also deartifact first or deinterlace? Can you do both at the same time on a render? pros cons?

Curious about the entire process really.

As an aside - if it is good practice to deinterlace footage straight away before doing anything else to it - when you later do a 24p conversion with MB, typically the final step in the process, arent you deinterlacing it a second time as MB 1.1 combines 24 and deinterlace as one action now. (though as i mentioned you can do just a deinterlace sans the 24p conversion).

Thanks.

Pilot delivery/format to include commercials

forums_noreply@adobe.com — Wed, 14 Sep 2011 22:11:19 GMT

When a pilot, or any episode for that matter, is finalized... are there gaps of black video left for commercial breaks?

Is it pure black video or does it also include white text that says "commercial break"?

I know where my commercial breaks go - but I'm not sure how to execute - wondering if there is somewhat of a standard?

I am also assuming a network receives a finalized episode, with the allotted commercial break space "cooked in" the render, and then flys in their commercials over the top of the program. if so are the gaps left in the episode the exact length intended of the commercial break? Or are they just a few seconds of black as a marker and then the network literally edits in the commercials?

Any insight into this somewhat elusive, but possibly interesting, aspect of formatting a finished product for delivery greatly appreciated.

p.s.

Was also hoping I could find a raw demo or pilot episode of something on youtube that has the gaps in there so i could derive my answers from a real world application... but no luck.

Movie Clips on the Stage

forums_noreply@adobe.com — Tue, 08 Feb 2011 21:31:51 GMT

I've been out-of-it for a bit, so maybe I'm missing something simple (hope

fully)...

If I create a 2000 frame Movie Clip and then drag it onto the stage of my main scene... shouldn't it work/play through it's entirety from within one frame of the main scene timeline?

IOW I'm having to make the layer on the scene stage that i drag the movie clip onto 2000 frames long in order to see the nested 2000 frame movie clip play.

Seems like in the past I could get Movie Clips to play and loop and what not from the main scene/stage without doing this.

Thoughts?

multiple incremental cuts on multiple tracks in one click

forums_noreply@adobe.com — Wed, 20 Jan 2010 21:20:44 GMT

CS4

Is there a way, perhaps by setting marker points, or maybe just choosing a set time interval, to make a bunch-o-cuts on a track (or thru several stacked tracks) at set distances, in one fell swoop?

So if I have a few tracks layered and I want to make a slice every 5 minutes along the timeline through all of them.

Three Wishes...

forums_noreply@adobe.com — Mon, 05 Oct 2009 03:37:49 GMT

CS3

I've had these same reoccurring wishes for so long, but I always just work around them in the heat of the moment. I thought I'd finally throw them out there.

#1) moving a track up or down in position. Yep, that’s all, I just wanna grab a track and slide it above another track or vice versa.

#2) The ability to grab all pieces (clips with gaps between them, etc) on a single track and apply effects to all. IOW apply effects to a track and everything on it, regardless if it’s part of a single continuous clip or not.

#3) The ability to somehow have the “black” that renders in place of gaps when rendering/exporting be opaque. IOW if I leave a gap in-between clips it’s because I want that space to be empty so that another track will “show through”. As it is now I continually have to go back in after a render/export and re-import and manually cut out all the “black”

Pasting effects onto multiple selected individual clips on the same track

forums_noreply@adobe.com — Fri, 31 Jul 2009 06:11:09 GMT

Ok,

What am I missig? I know this has to be possible, probably the first thing they developed.

PR CS3

I drag a long avi clip onto a track, then i slice it up so that things on the track below it can show through when needed... but now I want to apply an effect to everything on the track I sliced up in one fell swoop.

I easily can select everything on th etrack of course, but when I do anything related to pasting is greyed out everywhere.

help...