{"id":17,"date":"2015-05-17T19:28:48","date_gmt":"2015-05-17T19:28:48","guid":{"rendered":"http:\/\/editspecialists.com\/pr\/?page_id=17"},"modified":"2019-08-21T05:03:42","modified_gmt":"2019-08-21T05:03:42","slug":"editors","status":"publish","type":"page","link":"https:\/\/editspecialists.com\/pr\/index.php\/editors\/","title":{"rendered":"Editors"},"content":{"rendered":"

Essentials
\n<\/strong>–File>Project Settings
\n<\/a>–Edit>Preferences<\/a>
\n–Optimizing media in Premiere<\/a> (Sequence settings)
\n-On-lineing in Premiere<\/a>
\n-FAQ Speeding up rendering & exporting<\/a>
\n-For some projects (like when PRORES is involved) you want to be on MAC.
\n–PRORES does not work at all on PC!
\n<\/a>–These 7 places alter behavior of Premiere
\n<\/a>-Mistake Prevention
\n<\/a>-Premiere workflow from import to export in 5 steps.<\/a>
\n<\/a>–Transcode or not?<\/a>\u00a0All about bit depth
\nMike’s Summer 2016 tips
\n<\/a>Avoid losing you render\/preview files.<\/a>
\nRotoscoping introduction and resources<\/a><\/p>\n


\n<\/a>\"mx200\"<\/a>Premiere doesn’t like to be connected to lots of\u00a0files in multiple network locations!\u00a0Improve\u00a0performance 1000% by working local.
\nProject, Media Caches and Media. That’s what sound mixers and designers do;\u00a0work local,\u00a0move final files over network.
\nCopy the media from the server to a USB-3 SSD (1TB Crucial<\/a>=$300)
\nIt takes about 1\u00a0hour to copy 1TB from the server, easy to\u00a0relink back to the server.
\nAs a bonus have an\u00a0SSD as your Media Cache drive. Then you can\u00a0move around and not have to re-cache the waveform files.
\nPay attention to the drive letters. On our systems the first external drive always\u00a0comes up as (F:) Because the internal media drive is (D:)\u00a0The DVD\u00a0is\u00a0(E:) The second external drive comes up as (H:). So plug them in, in the right order, you can not change the drive letters because you are not administrator.<\/p>\n

Being able to\u00a0edit\u00a0without transcoding\u00a0is a ridiculous lie told by marketers. The key to success with Premiere is using\u00a0optimized footage that matches\u00a0timeline settings. At least set your sequence settings<\/a> to a known I-frame format, or shoot with an edit\u00a0ready format using an external recorder or a camera that can record proper I-frames. (ProRes or DNxHD)
\nGood cross platform codecs are: AVID DNxHD >MOV or MXF, XDCAM, C300 MXF, AVC-Intra MXF.
\nTest performance<\/a> before you commit to any workflow!<\/p>\n

Premiere Pro by default operates internally in 32-bit color (that\u2019s 32 bits per channel)\u00a0Lead programmer on the Premiere Pro team, Steve Hoeg,\u00a0explained how this works in Karl Soule\u2019s blog post back in 2010<\/a>. His explanation is at the end of the post, and is recommended reading for everyone who wants to understand the image processing in Premiere.
\n\u201cWhen you add an effect and the timeline render bar turns red, this should trigger your attention.\u201d
\n<\/span><\/strong>To make sure everything is done in 32-bit, you need to know for sure if you\u2019re in 8-bit or 32-bit mode in Premiere. And it\u2019s not always straight forward. Here\u2019s the run-down.<\/p>\n