{"id":1377,"date":"2016-05-13T03:09:29","date_gmt":"2016-05-13T03:09:29","guid":{"rendered":"http:\/\/editspecialists.com\/pr\/?p=1377"},"modified":"2019-04-10T20:01:35","modified_gmt":"2019-04-10T20:01:35","slug":"online","status":"publish","type":"post","link":"https:\/\/editspecialists.com\/pr\/index.php\/online\/","title":{"rendered":"On-lining in Premiere"},"content":{"rendered":"

Premiere\u2019s \u201cEditing modes\u201d are the same as\u00a0FCP7\u2019s\u00a0\u201cEasy setups.\u201d The Sequence Settings show in one window how the application will behave. Understanding them\u00a0can make the difference between struggling through your days or having a smooth experience.\u00a0Related to this is the\u00a0connection speed\u00a0to your media drives,\u00a0the performance of those drives<\/a>\u00a0and correct media locations.<\/p>\n

Go to File>New>Sequence\"PR-sequence-settings\"
<\/a>Click Tracks>choose Multichannel.<\/strong>
<\/a>\"pr-tracks-multi\"
<\/a>Never work in default stereo, because\u00a0you can\u2019t change output channels from the sequence\u00a0afterwards.
You also loose your renders when you copy and paste between sequences.<\/p>\n

\"PR-yellow\"If you can match your\u00a0mediafile\u2019s settings in part 1 & 2 of the sequence settings, you\u2019ll have no yellow render line on your timeline. (save as preset for later)
Adobe calls this:\u00a0\u201cuse the media file as the preview file.\u201d<\/p>\n

\u00a0<\/p>\n

\"multi14-2\"
Like in FCP7, a sequence can change \u201cEditing Mode\u201d the first time you drag footage into it when empty and like FCP7 it doesn\u2019t always recognize the incoming clip correct. \u00a0So\u00a0when do you\u00a0choose change or keep?Nine times out of ten,\u00a0start with\u00a0File>New>Sequence<\/strong>, choose\u00a0an editing mode,\u00a0make it multi-channel\u00a0or\u00a0re-use an old sequence. “Change sequence settings” is unreliable!
\"WNET-p2setting\"
–<\/strong>With DVCPRO-HD60i choose Editing Mode: P2 1080i-1080p 60Hz DVCPROHD
–<\/strong>With C100, MTS, AVCHD, DSLR H264 files and MP4 clips, choose\u00a0either:
P2 1080i-1080p 60Hz DVCPROHD .MOV
or
AVC-Intra 50 1080i .MXF
With these formats you edit with yellow real-time line,\u00a0then\u00a0render and get the green line, for screening without stutters.
–<\/strong>NEVER use\u00a0<\/strong>\u201cI-Frame Only MPEG\u201d in part 2 of the sequence settings.
–<\/strong>On a MAC always work in QuickTime ProRes.<\/p>\n

For final exports, export\u00a0straight out of Premiere.<\/strong>\u00a0Export matching sequence settings, using previews.
Remove all disabled clips<\/strong>\u00a0from the timeline before export! Premiere has a bug that exponentially inflates export times with even one\u00a0disabled audio clip on the TL!
Export speed should be 1\/4 realtime or better.<\/strong> Don\u2019t use Queue\u00a0because when\u00a0you send a timeline with hundreds of edits with adjustment layers and filters.\u00a0Dynamic linking\u00a0has to pass all that information from Premiere to AME\u00a0in 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.\u00a0<\/strong><\/p>\n

NOTES:<\/strong> In Premiere\u00a0on WIN>\u00a0PRORES Quicktime can\u2019t be used at all, because it\u00a0is a Mac-only format.(Apple will not license it to Adobe)<\/a>
With DSLR\u2019s\u00a0try to\u00a0shoot with\u00a0KiPro<\/a>\u00a0or Samurai<\/a> to avoid transcoding altogether.<\/p>\n

This is the list of preferred I-Frame codecs that play without generating cache files:
DVCPRO-HD in\u00a0MXF<\/a>\u00a0wrapper (the file structure on P2 cards)
DVCPRO-HD in Quicktime wrapper
PRORES \u00a0(Mac only)<\/strong>
AVID DNxHD & DNxHR\u00a0MXF<\/a>\u00a0(Adobe licensed for both Mac & PC)
AVID DNxHD & DNxHR in Quicktime wrapper
AVC-intra\u00a0MXF<\/a>\u00a0(Mac & PC)
C300 & C500 MXF files
AVI (windows only)
Any other file will generate Cache files on import for both Video & Audio<\/p>\n

Legalize the video by adding an adjustment layer to the top track and apply the Video limiter with the following settings:<\/p>\n

\"WNET-video-limit\"<\/a><\/p>\n

New 90% title save area\u2019s for 4\u00d73 & 16\u00d79
\"PR-WNET-PROJECT1of2\"<\/a><\/strong><\/b>Put in your\u00a0General Project settings to reflect the \u201cnew\u201d (since 2010) 90% Title safe settings.<\/a>
They are 33, 10, 10, 10.
After putting in those numbers, simply go the the Program monitor\u2019s Wrench and turn on Safe Margins. Also shows up in Title Tool.<\/p>\n

STILL SPECS
<\/b>Scan as close to 5000 pixels, in either direction.
For example, if you scan a 8.5\u2033x11\u2033 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\u2019s should be saved as 8bit, uncompressed, in PC\u00a0byte order.
This method should provide you with the most options for your needs and provide you with a solid \u201cmaster\u201d element.<\/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.
\u201cWhen you add an effect and the timeline render bar turns red, this should trigger your attention.\u201d<\/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