Avoid losing you render/preview files.

Summary of this discussion on Adobe groups.

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.

NewsHour Premiere Tips

Guidelines shooting and editing for TV

Ver 3.5-20180707

DNxHDvsProResAs 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, k
eep ISO down and light well. A noisy image when cropped looks even worse. Plus the noise is bigger.

-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!

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.

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.

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


7 places alter behavior of Premiere

1. General Preferences (click for details) (Machine specific, not tied to project)
You have to redo these every time you move to a different station. Or after a reset.
Also be aware that your colleagues might change them. Check!

Set to Frame Size vs Scale to Frame Size.
pr-pref-default-scaleAlways have “Default scale to frame size” checked. 
Set to Frame Size> switches to the original high-resolution pixel information.
Scale to Frame Size> rasterizes to the sequence resolution, improving performance.
If you want to zoom past 100% you can uncheck “Scale to Frame” for that clip.
Effect Controls will always display the actual scale values of the full-resolution.

2. The Project settings (Tied to project, moves with project)
-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.

3. Keyboard Shortcuts: You should know where this file lives, learn to change it, update it and move it wherever you go even keeping a WIN and MAC version.
Learn to map functions that you use all the time like:
-Selection Follows Playhead
-Toggle Source/Program Monitor Focus
-Replace With Clip From Source Monitor, Match Frame
-Deselect All
-Zoom Program monitor In, Out & Fit
-Render In to Out
Print Default Layout on ledger 11×17 paper.

4. The Panel Menu> changes behavior of that specific panel (Tied to Machine)

Timeline Panel Menu
This is where the Sequence start time can be changed.
Also Audio Time Units, enabling  Sample level audio editing.
Don’t use the Work Area Bar because it will remove render in to out.





5. Timeline Wrech Menu (Tied to Machine)

Check all except:
1. Duplicate Frame Markers (Dupe detection)
It degrades performance and causes crashing.
2. Composite Preview During Trim
Also causes stalls and crashes.









Trim view still works even when unchecked! It helps prevent flash frames.

PR-trimview3op21. 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.








Program Wrench Menu

Check all except:
-High Quality Playback> causes stutters and crashes.
-Show Audio Time Units, see: Sample level audio editing.
-Time Ruler Numbers (clutters the monitor)







6. The Video Keyframe Menu chooses what the line on the video clip represents.
Great for manipulating keyframes in relation to other clips.
The best way to do Speed Ramping.



FX badge colors
A. Gray: No effect applied (default badge color)
B. Purple: Non-intrinsic filter effect applied (like, color correction, blur)
C. Yellow: Intrinsic effect modified (like, position, scale, opacity)
D. Green: Intrinsic and Filter together.
E & F Red underline: Master Clip effect applied.

7. Buttons that toggle functions on/off
These usually have Keyboard Shortcuts or can be mapped.


Premiere Audio Workflow

You can make premiere behave pretty much like FCP.
Also read 5 rules for a smooth edit.

Preferences>Audio: Default Settings, except>change all Default Audio Tracks to Mono.
This makes it so that stereo camera tracks can be edited as double mono tracks.
If you’ve already imported or even edited them you can still change them, but this is a last resort. Right-click the tracks and choose>Audio channels
Or right click the clip in the bin and choose>Modify>Audio Channels

Premiere has 3 places where you adjust levels.

  1. Gain > Press G on the keyboard use FCP style menu to adjust clip levels.
  2. Window> Audio Clip Mixer sets levels FCP style with possibility or rubberbanding. Make sure that “Show Audio Keyframes” is on in the Timeline Wrench menu.
  3. Window>Audio Track Mixer sets levels for whole track.

Sync sound on track 1-4 0 DB (level individual clips with G)
Nat sound tracks 5&6 at -15dbs.
Music tracks 7&8 at -15dbs.
Open the top area of the Master track
add the Multiband Compressor for immediate smoothing of all levels.multiband
If you have noisy audio you can either:
Put all those clips on dedicated tracks > say 10+11 then add the DeNoiser to those tracks
add the same DeNoiser to individual clips.
Watch out for taking the DeNoiser too far and creating artifacts. Sometimes using an EQ effect can yield better results than DeNoise.

Workarounds for missing save function effects in Track mixer:

  1. Save a project as a template with your effects in place in the Audio Track Mixer.
  2. Nest audio clips into one clip in a track and apply your presets from the Effects Bin.
  3. Link to Audition and finish audio there.
  4. Bounce out an AAF and do it in Pro Tools.
  5. Create screenshots of your effects settings and save them in a folder on your desktop or Dropbox for reference.

iZotope RX Loudness Control






XML from FCP7 to Premiere

1. In FCP right-click the sequence and choose > Export >XML
Leave the default, version 5 and uncheck both boxes.
2. In Pr import using media Browser as usual, with same media drives connected.
Don’t expect motion files that you’ve
 built with Motion 4 to come across.
What will come across are:
-Clips + Basic Motion tab atributes(including keyframe animation) + Cropping
ross dissolves
-Audio levels & Audio dissolves
-Eight & Four point mattes
-Luma key
-Titles content but not Font & Placement (It is editable in Pr though, easy to adjust)

Not translate:
-3-way color corrector
-Motion files
-Nested clips
-Everything else
A lot of things aren’t going to come across, and if they’re vital to a project,  bake them in, export as clips from FCP, then import into Pr.

This is the official Adobe migration page

All about Pr Media Cache Files

The Mercury playback engine’s workings are kept secret by Adobe’s marketers. Recommended RAM is about three gigs per core you have on your system. Click here for Adobe’s official rendering & exporting notes.
While both Avid and FCPX support editing with native media, Premiere is designed around it. Adobe has not developed its own mezzanine, or intermediate, codec; while you can transcode media to, say, Apple’s ProRes or Avid’s DNxHD, it’s not necessary they say…
Playing anything without stutters from source or timeline depends on these four things:

1. Media has to be on a fast, local media drive (the faster the better, like 1000 MB/S  or better)
2. In Software-only a fast CPU with 8 cores or more.
Or in GPU Acceleration mode:
A combination of fast CPU & GPU with 1000+ cores & at least 4GB VRAM
3. Cache files & Database on a local, fast drive. (1000 MB/S or better)
4. Sequence settings have to match files on Timeline or Previews have to match delivery format.

When you bring in any footage that can’t be used as it’s own preview or cache file, Pr creates cache files in the background on import. After import playback is usually stuttery and audio drops out, but if you let it sit for a while, playback becomes smoother.
If you can use the media file as the preview file then Pr will not create cache files.
This is indicated by NO color in the Timeline.

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 >Any flavor (Mac only)
AVID DNxHD MXF (Adobe licensed for both Mac & PC)
AVID DNxHD in Quicktime wrapper
AVC-intra MXF (Mac & PC)
AVI (windows only)
Any other file will generate Cache files on import for both Video & Audio

By default both the cache files and the database are stored here:
Mac: /Users//Library/Application Support/Adobe/Common
Windows: \Users\<username>\AppData\Roaming\Adobe\Common
DO NOT LEAVE THEM THERE or you will run your editing system into the ground! The cache files can easily grow to 100GB or more. You have to manually delete them when a project is done and they also have to get rebuild in a multi-user-environment, because adobe does not support database or cache on shared storage.

files in Media cache folder:
.ims – Importer State files. These files refer to the sta- tus of an imported file.
.mxfassoc – MXF associations. Some flavors of MXF have media attached; some don’t. This cache keeps track of the associations.
.prmdc – Premiere Metadata Database Cache. This is a cache for the database.
.mpegindex – MPEG Index Files. Some types of MPEG files require their own index, like XDCAM.

AUDIO files in Media Cache folder:
.cfa – Conformed Audio. Most compressed formats have compressed audio, Pr builds an uncompressed version for them.
.pek – PEaK files. These PEaK files are a picture of the peaks that are turned into waveforms.
From Adobe >These rules determine which types of audio get conformed:

  • Premiere Pro does not conform audio in uncompressed clips that were recorded in one of the natively supported sample rates, when you use these clips in sequences with matching sample rates. 8000, 11025, 22050, 32000, 44100, 48000, 96000 Hz
  • Premiere Pro does conform audio in uncompressed clips when you use them in sequences with non-matching sample rates. However no conforming is done until you export the sequences or create audio preview files.
  • Premiere Pro does conform audio in uncompressed formats that were not recorded in a natively supported sample rate. In most of these cases, it will upsample the audio either to the nearest supported sample rate, or to a supported sample rate that is an even multiple of the source audio sample rate. For example, it will upsample an 11024Hz source to 11025Hz, since that is the nearest supported rate, and there is no supported rate that is an even multiple of 11024.
    See how the name of a Media Cache File indicates what was cached.

    From the Premiere manual:

    When Premiere Pro imports video and audio in some formats, it processes and caches versions of these items that it can readily access when generating previews. Imported audio files are each conformed to a new .cfa file, and MPEG files are indexed to a new .mpgindex file.
    The media cache greatly improves performance for previews, because the video and audio items do not need to be reprocessed for each preview. Note: When you first import a file, you may experience a delay while the media is being processed and cached.
    A database retains links to each of the cached media files. This media cache database is shared with Adobe Media Encoder, After Effects, Premiere Pro, and Audition, so each of these applications can each read from and write to the same set of cached media files. If you change the location of the database from within any of these applications, the location is updated for the other applications, too. Each application can use its own cache folder, but the same database keeps track of them.
    Choose Edit > Preferences > Media (Windows) or
    Premiere Pro > Preferences > Media (Mac OS), and do one of the following:
    To move the media cache or the media cache database, click the respective Browse, button.
    To remove conformed and indexed files from the cache and to remove their entries from the database, click Clean. This command only removes files associated with footage items for which the source file is no longer available.
 Before clicking the Clean button, make sure that any storage devices that contain your currently used source media are connected to your computer. If footage is determined to be missing because the storage device on which it is located is not connected, the associated files in the media cache is removed. This removal results in the need to reconform or reindex the footage when you attempt to use the footage later.
    Cleaning the database and cache with the Clean button does not remove files that are associated with footage items for which the source files are still available. To manually remove conformed files and index files, navigate to the media cache folder and delete the files.



Multi-track audio exports Premiere CC 2014 & 2015

The audio export is different between 2014 & 2015, make sure to follow the right instructions.
1. Match-frame a piece of footage in your sequence that matches the sequence settings. (keep it loaded into source window until step 4)
2. Select all on your sequence and Copy.
3. In the project window click “new Sequence” > choose any format, click the Tracks button> choose multichannel and the amount of tracks you need.multi14-1
4. Drag the footage from the source window in step 1, down into the sequence and “Change sequence settings”multi14-2
If you don’t get this warning undo and drag (the only way to get this message)
5. Delete the clip you just dragged (NOT UNDO)
6. Paste
You now have a sequence that matches the original sequence with the same content & settings but multi track audio instead of stereo.
7. Window> Audio Track Mixer
Assign the tracks from your sequence to the correct output channels.
8. Test the assignment by:
A. Turning on all-audio-channel-playback on your system (click to make all speakers blue under meters)
B. Solo the tracks you want to listen to and make sure they are panned correct.
Example: Music should be panned left/right, dialog can come out of 2 channels.
It really depends on your delivery specs. Here is a sample template for track assignment:
1+2 VO
3+4 SOT
5+6 FX (usually stereo)
7+8 MUSIC (stereo)
9. Un-solo all tracks after testing and choose: File>Export>Media
First switch to your export preset of choice (for the video)
Then click the Audio tab and choose:
Channels: >The number of channels you need to export from step 3
Audio Track Layout > x Mono Tracks
Channel Layout > Mono
This will create a quicktime with multiple Mono tracks, the universal format for delivering multi-track exports.

















The Adobe App Linking Workflow

Never Use this one.
Only use Direct linking one way; out of Pr to Ae, Ps, or Au. The Adobe apps really fight each other on the same system, the “famous” workaround on the web is to only work in one App at the same time. Also with more than 4 dynamically linked clips, those clips will usually come up “media pending”. Renders of an unrendered Ae composition on a Pr timeline are laughably slow even on the best machine. “Render and replace” is also extremely slow.
Read Adobe’s official Cross-application workflows here.
My App Linking workflow is this:
1. Drag VFX clip up.
2. Drag out some handle if you think you need it for transitions.
2. Right-click > replace with Ae comp.
same with Ps for stills
3. Save the AE project next to your Pr project. Consolidate & Collect files if you want to move the project to another drive.
4. Copy & Paste Timeline TC as comp name  in AE
Make>10;23;45;16 into 102345. You only need the first 6 digits and can’t have the semicolon as part of the name.
5. Back in PR undo 1x to remove link to AE and linked clip in project.
You can work in Ae or Ps standalone with Pr closed or the other way around.
You are still dynamically linked to the footage in Ae or Ps, but there is no link in Pr, which causes most of the problems.
Do your VFX in AE, but leave Color Correct, Titling, trimming etc in Pr.
6. Render out matching the codec, frame size etc.
linkwhirlThe fastest way to render in any of the Adobe apps is standalone but with a beefy machine you can drag Ae Comps to Adobe Media Encoder for rendering while working.

7. Import clip into Pr and replace the clip in the timeline.
8. If there is a change to the comp in Ae, render out replacing the file with the same name.
The Pr timeline will automatically update to the latest render because it doesn’t “know” the file was swapped.
If you expect a lot of revisions on VFX work, export all the clips from Pr with handle to a folder on your media drive, relink all clips in Pr to those clips and render and replace as usual. Time spend doing these extra steps is gained in the end by crashing less.

If you ever have to use Direct Link between Pr & Ae on the timeline, close Ae before switching back to Pr.

sg-notThe best Direct Link in the suite is the “either-or” exchange between Pr and Sg (Speed Grade). This is not a direct link like the others. You add Lumetri effects to clips in the 12-way color corrector in Speed grade, close the project in Sg, open it in Pr and continue editing. This truly saves a lot of time because you can color correct as you go.

For final file exports, export straight out of Pr, not using dynamic linking.
For intermediate exports AME is fine as long as you check the files for gitches before sending out.
Glitches are caused by dynamic linking having to pass too much metadata between apps. You have to understand that when you send a timeline with hundreds of edits with adjustment layers and filters. Dynamic linking has to pass all that information to the other App in the background applied to the footage in order to render all the frames correct. It’s a great idea, but understand that there is a limit.
pr-use-previewIf your preview codec matches your media files you can check “Use Previews” which will significantly speed up exports by not having to re-render. It can be a double edged sword though, because when the preview files are a lower quality like “I-frame Only MPEG” then you’ll render lower quality footage into the file.












Create fully qualified UNC file paths in WIN

In our shared network environment we want to be able to open projects on different machines and even move between MAC <> WIN. Please follow these steps to create universal paths in WIN.
IMPORTANT: If you have any network drives mapped to Postnas or post-storage, please disconnect them, and remove all shortcuts on desktop & sidebar. You can keep mapped network drives to shares other than Postnas.
1. In any explorer window at the top type \\your-postnas-server-name
2. Open another explorer window and navigate to the c: drive
3. Make a new folder called>DRIVES
4. Drag the edit, ingest and output folders into that folder (creates shortcut automatically)
5. Drag the folder into your windows favorites area (creates link)
6. In Premiere’s media browser navigate to c:/DRIVES, right-click and add to favoritesunc4
7. Every time you open a new project you can add this favorite in one easy step.
A UNC (Universal Naming Convention) path starts with a set of two backslashes\\ (often called whack-whack), which means “everything after this is on the network, not on my computer”. The whack-whack is followed by a server name followed by another whack followed by one or more folder names separated by even more whacks.
The difference between MAC and WIN is that on a MAC you have to mount a server, and after that the file path is the same on every MAC connected. In Windows you don’t want to map network drives because that adds a drive letter to the path that won’t match the path on another computer.
Here is how you copy a link to a file into an email:
-navigate to the file
-right-click and “Get Info”
-copy after Server:
-paste that into your email.
-navigate to your file
-hold SHIFT & right-click the file
-choose “Copy as path”
-paste into your email
Connect to G-drive, WNET Share or WNET Transfer on a MAC
GO>Connect to Server: smb://wnet-fs16