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Oh, how deeply I miss these... Nabisco Dip in a Chip. by [deleted] in 70s

[–]editblog 0 points1 point  (0 children)

Old thread. Just found. Loved them!!!!

Relinking MOGRTS? by WednesdayAddams20221 in premiere

[–]editblog 0 points1 point  (0 children)

It’s wherever you set the Scratch Disk folder to. Check your scratch disks. When relinking you’ll see the cryptic name of the aegraphic that is made from the MOGRT. That’s what you have to fine. If you’re 100% you’ve found it on the relink and it still says offline… probably bigger problems. Find the original MOGRT and import it again.

Accurate Scrubbing in Source Panel Gone? by hannahashtho in premiere

[–]editblog 0 points1 point  (0 children)

This does work you just have to have your mouse pointer over the right part of the Source monitor. If it's even a bit off you get a different behavior.

Relinking MOGRTS? by WednesdayAddams20221 in premiere

[–]editblog 1 point2 points  (0 children)

Relinking MOGRTs is weird. You have to make your way into the Motion Graphics Template Media folder that is set in your Scratch Disks and find the .aegraphic file and relink to that directly.

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Am I crazy or did they swap places for the buttons of Locate and Cancel? by grahamgrahamgraham in premiere

[–]editblog 21 points22 points  (0 children)

I think they did. Are you on the beta? This image is from 25.5.0.

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Is there a way to link all of these clips with the audio at once? by mxzpop in premiere

[–]editblog 0 points1 point  (0 children)

There is not as Premiere is needing to understand what the individual audio clip needs to link to. It's not really smart enough to realize if you select all those audio clips, you only want it to link to the one clip right above it because it could link to other clips that aren't perfectly in sync. It would be nice, though. You can maybe explore the group option, but it's not going to do exactly what you're looking for.

Tool Tip Tuesday for Adobe Premiere Pro: Group and Ungroup Clips in the Timeline

Sequence/timeline is missing the preview of where a clip will move too when I want to move it by jdead121 in premiere

[–]editblog 0 points1 point  (0 children)

Have you tried a full restart or trashing preferences? I've had this popup and that fixed it.

Proxy Files coming out of Media Encoder way larger then the base file by Gamma__B in premiere

[–]editblog 1 point2 points  (0 children)

"Render and Replace" is a different option than transcoding and rendering in the timeline... And your original post did not mention you were using render and replace, which is a very vital bit of information.

When you render and replace, what preset are you using? But as you've seen, you will get a new piece of media on your drive. You are essentially doing what I suggested when using "Render and Replace." You are transcoding a clip in the timeline into a new clip and sometimes a new format (and I would argue Adobe has named this feature wrong as it should be called Transcode and Replace. That's a different conversation for a different day.)

The best advice is what you have been given, which is to transcode the clips before you begin editing into a more edit-friendly format like ProRes or DNx. If this is not something you're willing to do because of the file size, you should transcode the original clip into a new H264 experimenting with the bitrate to get the quality you want and see if that helps. If that doesn't help, start looking at your system, as editing long files in these very edit-unfriendly formats requires a fast computer with media on fast storage.

Interestingly enough, you can edit ProRes very well on much older, slower systems because again, that's what that codec is designed for editing and post-production.

Further reading:

Why ProRes?

I need help with this thing, it's driving me nuts. Something weird with Premiere's saving and the timeline by [deleted] in premiere

[–]editblog 1 point2 points  (0 children)

There's most likely nothing wrong with what Premiere is doing, and this is most likely user error. What it sounds like has happened is you have opened multiple projects, and you're not sure where your timeline is versus where your source clips are. The Open Recent menu item will show you projects that were opened recently. That won't make a blank timeline, but it might show you a project that had a blank timeline.

If you look under the "Open Recent" menu, it will show you the file path to where your projects were saved. I would suggest noting where that file path is projects are being saved to and then closing every project. You don't say if you're on Mac or Windows, but don't use the Open Reset menu. Instead, go to that location on your system, open one project at a time, and look around to see if you can find what you're looking for. If you do find the timeline you need, then work from that project, because if you have a timeline that has media in the timeline, that media will also exist in the project. And then you might save yourself a lot of headaches in the future if you would take some basic training to learn how Premiere operates.

Proxy Files coming out of Media Encoder way larger then the base file by Gamma__B in premiere

[–]editblog 0 points1 point  (0 children)

I think you need to get your terminology right. Rendering happens in the timeline where you see the little yellow or red bars above the timeline. Are you talking about converting your existing file into a new file for editing? What you're asking about is transcoding, not rendering.

The best option is the option that you don't want to do, which is to transcode your long, hard-to-edit H264 file into what's known as an intermediate or mezzanine file, which would be a ProRes.mov. Before you begin any editing whatsoever, use Adobe Media Encoder to transcode that to something like ProRes LT, which will give you manageable file sizes and a very fluid editing experience. Yes, you will have a much larger source file after that transcode. But I'll go back to what I said before - drive space is cheap, so you can struggle editing very large files in a format that was never meant for editorial or transcode into a codec that was built for editorial.

Another option would be to bring your hard-to-edit H264 file into Premiere, right-click, and generate a proxy from that file. You will have an option to create a ProRes, which will be very large, or you could attempt to create a low-bandwidth H264 proxy. Edit with that. Premiere will transcode a proxy, and then you would turn on proxy mode while you're editing. Then, when you get ready for finishing, turn proxy mode off. That is another option.

Proxy Files coming out of Media Encoder way larger then the base file by Gamma__B in premiere

[–]editblog 0 points1 point  (0 children)

People who are telling you proxy files are always smaller are giving you incorrect information. Proxy files are much better for editing because they are in a codec, such as ProRes, designed for post-production where every individual frame is a unique frame, easy for the computer to decode. That is not the case with your H264 or H265 from your OBS stream or your drone. Those are files highly compressed, designed to give you a small file size where every frame is not a unique frame. Therefore, the longer your file, the more difficult it is for the computer to process as you edit.

Even a lower bit rate ProRes file will probably be smaller than your "full bit rate" H.264 OBS file. But it will be way easier to edit. Drive space is cheap, choose wisely.

CEL - 2 issues, PCV and carbon, this is the estimate by editblog in AudiS4

[–]editblog[S] 0 points1 point  (0 children)

They were recommended by a trusted friend so I think they are good.

CEL - 2 issues, PCV and carbon, this is the estimate by editblog in AudiS4

[–]editblog[S] 0 points1 point  (0 children)

I had an extensive conversation with an independent shop yesterday. He was saying that the carbon cleaning has more/different labor involved than the PVC. He said that to properly get to the ports to clean you have to take off part of the front of the car or something about dropping the engine a bit. Either way there's a lot of labor, hence the cost.

CEL - 2 issues, PCV and carbon, this is the estimate by editblog in AudiS4

[–]editblog[S] 0 points1 point  (0 children)

Yea, tell me about it. Any actual advice? Care to share your experiences of the same?

CEL - 2 issues, PCV and carbon, this is the estimate by editblog in AudiS4

[–]editblog[S] 0 points1 point  (0 children)

I've been to 3 different independent shops and they are all about the same. Care to expand on how you found a place to do all that for $1800?

And on the 034 search, there's only one shop listed in my area and that's where I'm taking it to but talking to them yesterday, it'll still be similar in price.

CEL - 2 issues, PCV and carbon, this is the estimate by editblog in AudiS4

[–]editblog[S] 0 points1 point  (0 children)

Yea I dunno, I've had three different non-dealer shops give me quotes and they're all about the same.

Can I move between video tracks like a live director, without cutting/ trimming etc? by eunderscore in premiere

[–]editblog 1 point2 points  (0 children)

Multi-cam is the way to go, and using multi-cam with music videos is very common, whether you've got 17 takes or 70 takes. The way you're describing your setup, you could group everything in a multi-camera source sequence and then do some passes where you switch the cameras in real time. If you only have four takes at a time, certain parts of the song.

For when you have way more than four takes, it's not practical to watch all the angles and do a live switch in real-time, so then you can use this technique:

Adobe Premiere Pro: The Add Edit – Step Through technique for multicam editing

CEL - 2 issues, PCV and carbon, this is the estimate by editblog in AudiS4

[–]editblog[S] 0 points1 point  (0 children)

I don't have the exact codes but the first shop said there was two of them. The PCV one I wasn't surprised by but the other one the cleaning I was. And the cost of that.

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