I’m assuming that you have all cameras and a line-cut loaded.
These files should either have matching TC or a common sound source for waveform syncing.
You’ll need Premiere 2017 or 2018 and free Resolve 15 1. In Resolve, open a new empty project (format can be anything) 2. On the Media page, browse to the line-cut, right-click and choose> Scene Cut Detection.
3. Click >Auto Scene Detect.
4. When detection is done > Add Cuts to Media Pool and close Scene Detect window.
5. With all the clips still selected >right click any one of them>Create New Timeline from selected clips>keep defaults>hit OK. If you get the different rate question> Change.
7. Switch to the Edit page (the timeline should be loaded)
8. Delete all audio tracks.
9. File>Export>AAF,XML Choose XML (2nd from top) for Premiere or AAF for Avid.
10. In Premiere import all clips.
11. Super tip >CMD/CTRL-click clips in the order that you want them to work as a Multi-Clip:
So if you want: Line-cut, Cam-3(host), Cam-2(guest1), Cam-5(guest2), etc.
CMD/CTRL-click them in that order! (Thank you Dana)
12. With all the clips still selected >right click any one of them >Create Multi-Camera Source Sequence.
13. Use your favorite syncing method.
14. Make a new sequence matching your footage’s format. 15. Add the Multi-Clip.
16. Double match frame the Line-Cut and add just the audio to the timeline replacing the green Multi-Clip audio. (check sync).
17. If there is ISO audio available from the camera angles.
Cut them in for easy access during the edit. Use Mono Tracks if sources are Mono and cut into Mono Tracks, not Standard Tracks. Audio on timeline should be blue for better playback performance.
18. Import the XML from Resolve (no need to link media) and cut onto another video track. Check to make sure XML cuts line up with the cuts on the line-cut.
19. Map Add-Edit to Shift+Right cursor button on Keyboard.
20. Turn on only the multi-cam video Track-Light>V1
21. Keep holding SHIFT> keyboard-mash: Right-Arrow & Down-Arrow.
This way you’ll create cuts matching the XML from above into the Multi-Cam.
22. Delete the XML.
23. Toggle Multi-Cam view (Shift+zero)
24. Switch all cuts to their corresponding ISO’s.
Do this by using the shortcuts on the keyboard for each angle 1-9.
The end result is a single video track, matching the Line-Cut with all the ISO’s cut in.
So you render preview files in Premiere and the next time you launch the program you’re met with red bars in the sequence – indicating the need to re-render (even though those render files are still sitting on the hard drive right where Premiere last left them). While Adobe is purportedly aware of the issue, it’s still pretty annoying.
Premiere seems to lose track of rendered preview files on the sequence that was displayed at the time the project was saved before exiting. When Premiere is re-launched, by default, it opens to the last displayed/saved sequence.
1. Create an empty sequence. Leave it empty. Rename it if you like (“Select me before saving and exiting”) – or not.
2. Work in your other sequence(s). Render your previews as needed.
3. Before exiting Premiere (this is the important part) switch to the empty sequence and save the project. Then exit.
4. The next time you start Premiere: a) Select the project, b) Wait till all media is loaded (Premiere reports this at bottom). It will open to the empty sequence. When you switch to the work sequences, you should have green bars where the previews were previously rendered.
When you launch Premiere to a sequence that has rendered previews, Premiere immediately checks to see if the render files are available. If it doesn’t “see” them in those first milliseconds, they are ignored and you get a red bar. (In old versions of Premiere, if renders weren’t found when/where expected you were given an opportunity to locate them). The problem is, if you have a lot of media in a project, it can take several seconds for everything to load and the render files are last. By then it’s too late. Premiere didn’t “see” the files in question, so they were ignored for that sequence.
This is also the reason why the problem seems to be hit and miss. If you have a small project, all the media including the render files load quickly before Premiere has a chance to “ignore” what it thinks might be missing in the way of rendered previews.
From Premiere manual Ensure that Adobe video applications use the same cached files Adobe video applications can automatically insert a unique document ID into each imported file. These unique IDs ensure that each application accesses the same cached previews and conformed audio files, preventing additional rendering and conforming. In the Media section of the Preferences dialog box (or the Metadata section for Soundbooth), select Write XMP IDs To Files On Import.
This setting is global—a change in one Adobe video application affects all the others. This setting also results in new file modification dates when IDs are initially inserted.
To save rendering time when transferring a project to another computer, move both cached and original files.
-Add the Transform effect to Adjustment layer as alternative to nesting a group of pictures with a move.
Did you know:
In Premiere and After Effects layers/effects on the timeline. The bottom layer is rendered/processed first.
But.
In effect controls (of one layer), processing order is top to bottom!
For example: the Video Limiter has to be on top in the timeline to be the last effect, but on the bottom in effect controls.
Super useful: Video & Audio Usage columns. Right-click on column in Project window> Premiere Pro Project Metadata> Check> Video Usage & Audio Usage.
Amazing for times when you want to figure out which pictures or music files you used and how many times. It even lets you right-click, open the Sequence and cues up the blue-line at the clip! Good stuff Adobe.
Find all clips and sequences in a project By typing “seq” or “clip” in the search box.
It conveniently twirls down all folders showing sequences or clips.
Alt-drag markers to stretch them out.
Add source TC and Clipname to screeners.
-File>New>Transparent Video
-Add the Transparent Video on an empty track in the sequence. -Add>Effects>Video>Clipname & Timecode to the Transparent Video
-in the effect controls choose the track of which you want to read the information.
-in above clip I also selected the Sequence TC burn in on export.
This kind of screener is very useful for picking clips from a lot of raw footage or for precise screening notes.
Premiere’s “Editing modes” are the same as FCP7’s “Easy setups.” The Sequence Settings show in one window how the application will behave. Understanding them can make the difference between struggling through your days or having a smooth experience. Related to this is the connection speed to your media drives, the performance of those drives and correct media locations.
Go to File>New>Sequence Click Tracks>choose Multichannel. Never work in default stereo, because you can’t change output channels from the sequence afterwards. You also loose your renders when you copy and paste between sequences.
If you can match your mediafile’s settings in part 1 & 2 of the sequence settings, you’ll have no yellow render line on your timeline. (save as preset for later) Adobe calls this: “use the media file as the preview file.”
Like in FCP7, a sequence can change “Editing Mode” the first time you drag footage into it when empty and like FCP7 it doesn’t always recognize the incoming clip correct. So when do you choose change or keep?Nine times out of ten, start with File>New>Sequence, choose an editing mode, make it multi-channel or re-use an old sequence. “Change sequence settings” is unreliable! –With DVCPRO-HD60i choose Editing Mode: P2 1080i-1080p 60Hz DVCPROHD –With C100, MTS, AVCHD, DSLR H264 files and MP4 clips, choose either: P2 1080i-1080p 60Hz DVCPROHD .MOV or AVC-Intra 50 1080i .MXF With these formats you edit with yellow real-time line, then render and get the green line, for screening without stutters. –NEVER use“I-Frame Only MPEG” in part 2 of the sequence settings. –On a MAC always work in QuickTime ProRes.
For final exports, export straight out of Premiere. Export matching sequence settings, using previews. Remove all disabled clips from the timeline before export! Premiere has a bug that exponentially inflates export times with even one disabled audio clip on the TL! Export speed should be 1/4 realtime or better. Don’t use Queue because when you send a timeline with hundreds of edits with adjustment layers and filters. Dynamic linking has to pass all that information from Premiere to AME in the background applied to the footage in order to render all the frames correct. It causes glitches and is too slow. The correct way of using AME is letting it crank out screeners from flattened files in the background while you work. H264 from flattened file should take 1/2 realtime.
NOTES: In Premiere on WIN> PRORES Quicktime can’t be used at all, because it is a Mac-only format.(Apple will not license it to Adobe) With DSLR’s try to shoot with KiPro or Samurai to avoid transcoding altogether.
This is the list of preferred I-Frame codecs that play without generating cache files: DVCPRO-HD in MXF wrapper (the file structure on P2 cards) DVCPRO-HD in Quicktime wrapper PRORES (Mac only) AVID DNxHD & DNxHR MXF (Adobe licensed for both Mac & PC) AVID DNxHD & DNxHR in Quicktime wrapper AVC-intra MXF (Mac & PC) C300 & C500 MXF files AVI (windows only) Any other file will generate Cache files on import for both Video & Audio
Legalize the video by adding an adjustment layer to the top track and apply the Video limiter with the following settings:
New 90% title save area’s for 4×3 & 16×9 Put in your General Project settings to reflect the “new” (since 2010) 90% Title safe settings. They are 33, 10, 10, 10. After putting in those numbers, simply go the the Program monitor’s Wrench and turn on Safe Margins. Also shows up in Title Tool.
STILL SPECS Scan as close to 5000 pixels, in either direction. For example, if you scan a 8.5″x11″ sheet of paper, it should be about 2909w x 4000h All images must be saved in RGB, not grayscale, CMYK or any color space other than RGB. File format should be either .tiff (TIFF) or .tga (Targa). Tiff’s should be saved as 8bit, uncompressed, in PC byte order. This method should provide you with the most options for your needs and provide you with a solid “master” element.
Premiere Pro by default operates internally in 32-bit color (that’s 32 bits per channel) Lead programmer on the Premiere Pro team, Steve Hoeg, explained how this works in Karl Soule’s blog post back in 2010. His explanation is at the end of the post, and is recommended reading for everyone who wants to understand the image processing in Premiere. “When you add an effect and the timeline render bar turns red, this should trigger your attention.” To make sure everything is done in 32-bit, you need to know for sure if you’re in 8-bit or 32-bit mode in Premiere. And it’s not always straight forward. Here’s the run-down.
If you set your project settings to GPU acceleration mode and use only the GPU accelerated effects (the ones with the speedy Lego brick icon) it’s easy. You’re always in 32-bit mode. Your timeline render bar is yellow, and all is good.
If you use non-accelerated effects, even with the project set to GPU mode, Premiere switches to Software Only mode, 8-bit. Go to Sequence > Sequence Settings and turn on “Maximum Bit Depth”, and you’re in 32-bit again – provided the effect supports it. You can have a look at the other Lego brick in the Effects panel, which says 32 if it is 32-bit capable. You will have to park the Playhead or render the timeline to see the image in its 32-bit treated glory when using non-GPU accelerated effects. But now you also have to remember to set the export to render in 32-bit, or the output will not match what you see when you edit! You do this in the Export panel under Basic Video Settings > Render at Maximum Bit Depth.
If you’re working in Software Only mode because your GPU doesn’t have enough video RAM, then you always have to set the Sequence settings and the Export settings to Max Bit Depth to be able to work in 32-bit. The red render bar is your reminder to check this – and again you will have to park the Playhead or render the timeline to see the actual result.
So what can you take away from this list? To make your life easy, use a system with a good GPU, and only use effects with the speedy Lego brick badge.
Plura monitor settings to match brightness & contrast of the Panasonic: Brightness 5, Contrast 10, Color 0, Sharpness 20, Tint 0. Don’t change any other settings.
DELIVERY Make sure your segment is within the following tech specs: LUMINANCE: between 0 – 100 GAMUT: between -20 – 120 AUDIO: Level should sit between -15 & -10. filling up to -10db (occasional peak up to -8db) Sub-mixes are like the adjustment layer in video. Dedicate tracks to VO, Nat, BG, Music etc. then apply filters to make them sound good, I always put the Multiband Compressor, De-esser and EQ on tracks.
-GFX 4×3 titlesafe and at 90% white. -Add 2 seconds of handles at the Head and Tail of the segment -Deliver your final flattened file in one of the 3 formats discussed above. -Deliver a textless version with split audio.(separate: NAT, VO, MUSIC)
Audio mixer filters:
Multiband Compressor> Gain -6dB
DeEsser >Default
Dynamics processing on Host channel to reduce room noise with soft gate 1 set to Noise Gate @20dB
2 move point 3 left to bring up host without clipping
Adaptive Noise Reduction. >Light Noise Reduction > reduce by 5DB
Export matching sequence settings, using previews. IMPORTANT> Remove all disabled clips from the timeline before export! Premiere has a bug that exponentially inflates export times with even one disabled audio clip on the TL! Export speed should be 1/4 realtime or better. Don’t use Queue because when you send a timeline with hundreds of edits with adjustment layers and filters. Dynamic linking has to pass all that information from Premiere to AME in the background applied to the footage in order to render all the frames correct. It causes glitches and is too slow. The correct way of using AME is letting it crank out screeners from flattened files in the background while you work. H264 from flattened file should take 1/2 realtime.
SHOOT As a producer you have control over how footage is shot. Please shoot (or request that your camera operator shoots) the footage in the codec, frame size, and frame rate you plan to master to. Or shoot in one of these 3 formats: 1. AVC-INTRA 60i 29.97 fps, (not progressive, not 60 frames) MXF
2. DNxHD 29.97 (except any 4444 flavor) MXF
3. ProRes 29.97 (no 4444 resolutions) MOV in a Mac environment. Shooting any H264 format internally, can double or triple the time needed to make the deadline and get the necessary sleep to work with a clear head. -Panasonic cameras shoot > DVCPRO-HD 60i 29.97 fps, (not progressive, not 60 frames) -Sony cameras shoot > 60i 29.97 fps XDCAM 35 or 50 Mbps(not progressive, not 60 frames)
-Canon C100 or C300 shoot 29.97 fps AVCHD or MXF with PCM audio 48k -Canon 5D or 7D make sure you have the latest firmware to shoot 29.97 fps.
–More shooting tips here
If your camera does not support recording to an I-frame codec, use video recorders (KiPro, PIX 240 etc.)
–Zero your flash media before important shoots! With multiple camera’s, you are responsible for delivering matching shots, this can’t be left to be “fixed in post”. 4K tips: -Use tripod or use advanced optical stabilization.
-Interviews >aperture at least 2 stops closed, make sure focus is NOT too shallow! -Check focus by using the digital punch in feature on most camera’s, or the biggest possible monitor.
-When shooting 4K cropped for 2 HD angles, keep ISO down and light well. A noisy image when cropped looks even worse. Plus the noise is bigger. AUDIO -Monitor audio using headphones during the shoot. -Microphone placement is everything. The one spot that sounds best may also create mouth noises that a windscreen can’t cure. Putting the microphone farther down the chest can cause severe rumble from the chest cavity and stomach, and let too much room noise into the balance of direct- to-room sound. -Center the microphone on your talent as much as possible. -Do not hide the microphone under clothes, it will create muffled sound and rustling noises.
Multi-cam shoot
-Coordinate the rolls of all camera’s and audio recorders! Everybody starts & stops at the same time. This greatly reduces the time you have to spend in post trying to figure out what belongs to what.
Bob the editor: ”Please no starting and stopping at will, you’ll create hundreds of files per shoot that I have to find and organize in post” -Use a good common audio source on all camera’s & recorders. Use the best mic possible to facilitate automated waveform syncing and make sure those mics “hear” the same source. -Use Time-of-day FREE RUN on all sources. With time-of-day, anyone on set can look at their watch and make a performance note or any other comment that will be useful and time saving later in the edit room. Make sure every device is set to Free Run. -Use the strongest shooter for the b-roll. Albert Maysles: ”Getting b-roll in a verite situation is tricky, you have to be quick to grab the right shots to make a scene editable” -All cameras: Use fixed White balance, not automatic, not preset.
-Spend one minute getting a good balance, using a white card, all cameras, in the room where you do your shots. -Use the same brand and type (no mixing of DSLR and video cameras) -Use the same frame size and frame rate. -If possible jam sync the timecode to time of day for easy logging.
-When shooting double system: LOG AUDIO FILES!!!! If it’s got no picture, tell the editor what it matches to – the editor wasn’t there when you shot it, and can only tell what it is, by playing it in real time unless there is a log.
-Make sure that the reel names and timecode on your camera are set correctly and that they increment with each new card, tape or disc. The more information you can supply the better. If you’re keeping logging sheets or camera reports, please know editors do actually look at them!
EDIT Click here for import to export in 5 steps. Click here to read about a new 2018 Multi-Cam workflow. Please transcode all footage before the edit to either: 1. DVCPRO-HD 60i 29.97 fps 1280×1080
2. DNxHD or DNxHR 29.97 fps (except any 4444 flavor) 1920 x 1080
3. ProRes 29.97 fps (no 4444 resolutions) 1920 x 1080
No mixed format timelines, especially no H264 footage of any kind.
-Transcode mp3s and M4v and any other compressed format to wav 24bit 48k. -Use only the native filters and effects built into Premiere. (No free or demo versions of any plug-ins) -During the editorial part of the edit; do not color correct or mix the sound. -Set sound levels for screening purposes only. -Do not process or mixdown any sound or remove any original camera sound tracks. (lower volume on clips you don’t want to hear) -All titles, graphics and animations should be 4×3 titlesafe within the HD 16×9 frame.
-Titles should be an appropriate size for legibility for playback on the Web and Broadcast.
-Titles should be created at 90% max white. (not 90% opacity)
We will provide a separate sound mix, color correct and HD legalizing. Depending on your editor’s skill set we can provide you with a room that has a broadcast monitor and scope for proper viewing of video levels.
STILL SPECS Scan as close to 5000 pixels, in either direction. For example, if you scan a 8.5″x11″ sheet of paper, it should be about 2909w x 4000h All images must be saved in RGB, not grayscale, CMYK or any color space other than RGB. File format should be either .tiff (TIFF) or .tga (Targa). Tiff’s should be saved as 8bit, uncompressed, in PC byte order. This method should provide you with the most options for your needs and provide you with a solid “master” element.
DELIVERY Make sure your segment is within the following tech specs: LUMINANCE: between 0 – 100
GAMUT: between -20 – 120
AUDIO: Most of the time level sits between -15 & -10.
filling up to -10db (occasional peak up to -8db)
GFX 4×3 titlesafe and at 90% white. -Add 2 seconds of handles at the Head and Tail of the segment -Deliver your final flattened file in one of the 3 formats discussed above. -Deliver a textless version with split audio.(separate: NAT, VO, MUSIC)
-Premiere project with consolidated media. -Clearly mark your FINAL LOCKED sequence in your project folder – make sure only ONE SEQUENCE IS VISIBLE! -Simplify your timeline to include only the clips necessary to play. Everything else must go. -Drop everything down to V1. Then dedicate other tracks to specific elements… V2 for overlapping dissolves or composites, V3 & V4 for titles and graphics etc. -Please include all the fonts that you used. -Please provide us with the following documents electronically: a. List of Lower thirds ID / Subtitles with timings b. List of production credits c. Script d. Music cue sheet e. Visual cue sheet for stock footage and stills used f. Signed releases
1.File>Project Settings 2.Edit>Preferences 3. Go to File>New>Sequence Click Tracks>choose Multichannel. Never work in default stereo, because you can’t change output channels from the sequence afterwards.
You also loose your renders when you copy and paste between sequences.
If you can match your mediafile’s settings in part 1 & 2 of the sequence settings, you’ll have no yellow render line on your timeline. (save as preset for later)
Adobe calls this: “use the media file as the preview file.”
Like in FCP7, a sequence can change “Editing Mode” the first time you drag footage into it when empty and like FCP7 it doesn’t always recognize the incoming clip correct. So when do you choose change or keep? Nine times out of ten, start with File>New>Sequence, choose an editing mode, make it multi-channel or re-use an old sequence. “Change sequence settings” is unreliable! –With DVCPRO-HD60i choose Editing Mode: P2 1080i-1080p 60Hz DVCPROHD –With C100, MTS, AVCHD, DSLR H264 files and MP4 clips, choose either:
P2 1080i-1080p 60Hz DVCPROHD .MOV
or
AVC-Intra 50 1080i .MXF
With these formats you edit with yellow real-time line, then render and get the green line, for screening without stutters. –NEVER use“I-Frame Only MPEG” in part 2 of the sequence settings. –On a MAC always work in QuickTime ProRes.
4. Import footage, edit and render. 5. For final exports, export straight out of Premiere. Export matching sequence settings, using previews. Remove all disabled clips from the timeline before export! Premiere has a bug that exponentially inflates export times with even one disabled audio clip on the TL!
Export speed should be 1/4 realtime or better. Don’t use Queue because when you send a timeline with hundreds of edits with adjustment layers and filters. Dynamic linking has to pass all that information from Premiere to AME in the background applied to the footage in order to render all the frames correct. It causes glitches and is too slow.
The correct way of using AME is letting it crank out screeners from flattened files in the background while you work. H264 from flattened file should take 1/2 realtime.
NOTES: In Premiere on WIN> PRORES Quicktime can’t be used at all, because it is a Mac-only format.(Apple will not license it to Adobe)
With DSLR’s try to shoot with KiPro or Samurai to avoid transcoding altogether.
This is the list of preferred I-Frame codecs that play without generating cache files:
DVCPRO-HD in MXF wrapper (the file structure on P2 cards)
DVCPRO-HD in Quicktime wrapper
PRORES (Mac only)
AVID DNxHD & DNxHR MXF (Adobe licensed for both Mac & PC)
AVID DNxHD & DNxHR in Quicktime wrapper
AVC-intra MXF (Mac & PC)
C300 & C500 MXF files
AVI (windows only)
Any other file will generate Cache files on import for both Video & Audio
Scratch Disk settings for a shared Premiere project:
File> Project Settings (Tied to project, moves with project)
General Tab -Set Title Safe to: 33, 10, 10, 10.
This reflects the new 90% PBS Red Book Title safe standard for both 16×9 and 4×3 Title Safe. -Check > Display the project item name and label color for all instances. It makes colors in Project & Timeline consistent.
Edit > Preferences > Media
Both should be local, preferably on a 3rd drive. Unfortunately that means that in a shared project setup the Cache files will get regenerated when you open the project in another room. Until Adobe gets it’s act together this is just how it is. Check the “Write XMP ID” box for a better database experience.
Note: You get the best performance out of Premiere with all local drives. Adobe doesn’t know how to deal with files on a network!.
Updating and backing up project files: best practices 1. File>”Save a Copy” of the project every day. Not Save As, because that creates a new render folder.
Make sure only one version of the project is visible so that anyone can open the latest edit. 2. Keep a versioning system inside the project to make it possible to “step back in time.”
For example: Sequence_V1.0, Sequence_V1.1, Sequence_V1.2, through Sequence_V1.35
After export or screening, go one version number up: Sequence_V2.0, Sequence_V2.1… Sequence_V2.10 etc.
Internally, you can have as many versions as you like, but, externally, limit versions only to simple numbers.
I keep one bin at top level called “all” and have all other bins inside that. At the end of the day, copy and paste the latest sequence to the top level, leaving no question about what the latest sequence is.
3. Keep tracks locked when not in use, especially audio tracks after sending out an OMF to sound mix.
4. Always know if “Selection Follows Playhead” is on or off!
Map it on your keyboard, or you will accidentally delete clips.
5. Before pasting material into timeline, right-click and choose “Default Source Assignment” to keep clips in the same stacking order.
6. When exporting “Software Only” check “Max bit depth” in export settings.
7. Avoid losing your renders, By clicking away from your rendered sequence, BEFORE closing Premiere.
Premiere immediately checks to see if the render files are available. If it doesn’t “see” them in those first milliseconds, they are ignored and you’ll have to re-render.
From Premiere manual Ensure that Adobe video applications use the same cached files Adobe video applications can automatically insert a unique document ID into each imported file. These unique IDs ensure that each application accesses the same cached previews and conformed audio files, preventing additional rendering and conforming. In the Media section of the Preferences dialog box (or the Metadata section for Soundbooth), select Write XMP IDs To Files On Import.
This setting is global—a change in one Adobe video application affects all the others. This setting also results in new file modification dates when IDs are initially inserted. To save rendering time when transferring a project to another computer, move both cached and original files.
When resizing or making moves> Set zoom level of your Program monitor to 100%, then click Motion in Effect Controls.
Now you can check that your image doesn’t go off the edge of the screen.
Keep Transparency Grid (Program Wrench) on. It helps prevent mistakes with resizing, and FX.
Trim view helps prevent flash frames.
1. Make a cut and apply dissolve.
2. During the dissolve in this example there is a flash frame.
3. Grab dissolve with Selection Tool (V)
-Trim view automatically shows how to adjust dissolve.
-In this example make the dissolve end at cut.
4. Check transition.
Did you know:
In Premiere and After Effects layers/effects on the timeline. The bottom layer is rendered/processed first.
But.
In effect controls (of one layer), processing order is top to bottom!
For example: the Video Limiter has to be on top in the timeline to be the last effect, but on the bottom in effect controls.
Super useful: Video & Audio Usage columns. Right-click on column in Project window> Premiere Pro Project Metadata> Check> Video Usage & Audio Usage.
Amazing for times when you want to figure out which pictures or music files you used and how many times. It even lets you right-click, open the Sequence and cues up the blue-line at the clip! Good stuff Adobe.
Find all clips and sequences in a project By typing “seq” or “clip” in the search box.
It conveniently twirls down all folders showing sequences or clips.
Sequence settings here Project settings here WIN>Edit > Preferences MAC>Premiere Pro > Preferences
1. General: Default Settings, ALWAYS check> Default scale to frame size. It makes footage & stills fit the sequence size.
For resizing using original resolution simply uncheck the box in right-click menu
2. Appearance: Default Settings
3. Audio: Default Settings, except>change all Default Audio Tracks to Mono.
4. Audio Hardware 1of3 WIN-Room with AJA card. 4. Audio Hardware 2of3 MAC-Room with AJA card. Also change: Apple-Menu>System Preferences>Sound>Output>AJA KONA
4. Audio Hardware 3of3 MAC or WIN software only. 5.Auto Save: Default Settings 6. Capture: Default Settings 7.Control Surface: Default Settings 8. Device Control: Default Settings 9+10.Label Colors & Defaults: Default Settings 11.Media Cache & Database should always be local, preferably on a 3rd SSD drive. Unfortunately that means that in a shared project setup the Cache files will get regenerated when you open the project in another room. Until Adobe gets it’s act together this is just how it is. Check the “Write XMP ID” box for a better database experience. More about Cache Files. Note: You get the best performance out of Premiere with all local drives. Adobe doesn’t know how to deal with files on a network! 12.Memory Default Setting>Performance. Note: Premiere will use up to 16 processors for rendering, but sequences requiring large amounts of memory – like sequences with large stills – will need too much memory and your system will potentially starve on RAM. You can make a struggling system more stable by changing this setting to Memory. Remember to change back to Performance when done. 13.Playback 1of3 WIN-Room with AJA card. 13. Playback 2of3 MAC-Room with AJA card. 13. Playback 3of3 MAC or WIN software only. > Default Setting. 14-16 Sync, Titler, Trim> Default.
Map Add-Edit to Shift+Right cursor button on Keyboard.
If you can match your mediafile’s settings in part 1 & 2 of the sequence settings, you’ll have no yellow render line on your timeline. (save as preset for later)
it’s easy. You’re always in 32-bit mode. Your timeline render bar is yellow, and all is good.
You can have a look at the other Lego brick in the Effects panel, which says 32 if it is 32-bit capable. You will have to park the Playhead or render the timeline to see the image in its 32-bit treated glory when using non-GPU accelerated effects.
