OWC on which used Mac for Video Users
A great article and something to consider because of the lack of pro M1 computers with more than 16 GB of combined ram, and the possibility than sone plug ins or software might not yet work in an M1.
A great article and something to consider because of the lack of pro M1 computers with more than 16 GB of combined ram, and the possibility than sone plug ins or software might not yet work in an M1.
Jonny Elwyn has a great and extensive article on Affordable Colour Grading Monitors, from computer Monitors to high end color correction screens. This is a seriously in depth article, and I wish something like this existed when I got my last monitor.
I just got a Samsung because it at least it has a blue only mode which certainly helps with color correction.
Trailer editor Chris Salters has posted 2 remote collaboration workflows, one free and one including a second computer. Great to see an almost free solution and a much more robust solution as well as solutions better than Zoom though much more expensive (starting at $399 a month).
I like that he sets up a solution that will work with other programs as well.
The budget solution creates a new video monitor which means you are eating more of your precious video memory, which worries me a little, but for screening should be ok.
And the other solution requires another computer and some hardware, so might be more for where companies can provide hardware.
Adobe Premiere Pro desperately needs to add support for iXML audio date for secondary audio in Premiere Pro. Currently when you add your external audio in Premiere Pro you get zero of the Metadata that the Audio Recordist has added, you just get the audio.
This is the same Audio in DaVinci Resolve, in which the engineer has added Mix and TrkA and TrkB to the metadata! Why can’t we see this in Premiere?
Being able to see which track is what would make my whole life so much easier. Especially with lav and boom and mix. If the data is there, Premiere Pro should be able to read it for sure, and export it for the mixer to see as well.
Now this is in various places on Adobe Voice, but I have voted for them all but this hasn’t gotten enough votes for sure. 11 votes here. 5 Votes here. And 20 votes here.
OWC is reporting on what is obviously a bug with M1 Macs, because you shouldn’t have to connect a second display to get full speed write on the thunderbolt ports, but at least for now it seems you do.
Man Big Sur has been having some serious software issues when it comes to drives (losing support for SoftRaid for a full versions was huge!).
EDIT:
Since writing this OWC has figured out more ways to get the speed boost, check it out.
Sofi Marshall (who wrote the amazing article on setting up for remote editing with Premiere Pro) has another must read article on Batch Syncing Audio in Adobe Premiere Pro.
I too prefer Merge Clips to multi-cam clips if there is only one video track because it acts more like a clip, but the problems are very frustrating. Why there is no batch ability for Merge Clips is beyond me, and why not ability to flatten back to source as you can do with Multicam?
But the biggest gotchas are with Proxy and Audio.
If you are going to be doing Proxy always do it before you Merge Clips otherwise it doesn’t work.
The number one issue with Merge clips for me has been that it breaks AAF export and removes all the audio clip metadata. And her solution to export an FINAL CUT PRO XML and re-import and it will fix the audio tracks and return audio metadata is awesome (and if you get rid of the video you can just cut this audio in for your mix). Sure it is an extra step, but a quick one that will work easily, but remember to switch off linked selection before deleting video or you will have more problems with your sequence.
Now the thing that Sofi Marshall doesn’t mention that is a huge got you for Merge Clips, is that using Merge clips breaks Project Manager in Premiere. So if you need to use Project Manager, then Merge Clips is not your solution and maybe just stick with Multi-Cam clips.
And I have always done Merge Clips in a different way than she does. She uses Multi-Cam Batch to sync all of her clips, then goes into each Multi-Cam sequences and merges clips, using the multi-Cam batch to do the syncing.
Personally I just sort each folder by Media start and select the audio and video that corresponds (with similar start time code) and right click and merge clips.
And from the dialogue sync by audio and remove cameras audio.
My only complaint with this method is the weird sort issues of Premiere Pro’s bins, that even though I am sorting by start timecode, the new merge clips jumps to the top of the bin after it’s creation, and until I make a new clip won’t sort into timecode order. I never figured out if this is a feature or a bug, but to me it is a bug, if I am sorted in a certain order, I always want every clip to sort that way and anything else is just confusion.
Now there are literally a ton of threads on issues with Merge Clips at Adobe Voice, and I hope anyone who reads this will click on many of these to try and get Adobe to work on these issues.
The open source video transcoder Handbrake has always been an awesome tool for compressing video, and should be in every video pros arsenal.
It’s lesser known sibling HandBrakePM, which is based on Handbrake (so uses the Handbrake CLI or command line interface) to do batch conversions. And it has been updated to include working on M1 processors. You should have Handbrake already installed for it to work.
You might not think you need this, but someday when you have a bunch of files to compress you will realize just how useful this is.
#SpeachtoText @AdobeVideo
This is what when I tried using the Transcribe sequence in Premiere Pro for a while yesterday. And I realized I don’t ever want to cut a testimonial without the transcription.
It is amazing I can start making selects on my first pass with the transcript. And my comprehension is better. Man this is a feature I can’t live without.
Unfortunately it looks like their 3rd party cloud infrastructure took a hit today.
I am pretty sure Adobe is going to have to expand their infrastructure because this is going to be a popular feature.
The awesome Knights of the Editing Table has released a new plugin Arrow for Adobe Premiere Pro that will copy a frame to clipboard with a keyboard shortcut, and it is free, and you can save the image as well to a location that you chose.
And for users of their amazing keyboard launcher for Premiere Pro Excalibur, you don’t need this because it was added to the last update.
#SpeachtoText @AdobeVideo
I am editing testimonials and an assistant already cut down sequences so just the best bits are in a sequence.
All you have to do is go to the captions workspace and hit the Transcribe Sequence and it renders and uploads the audio track, and very quickly transcribes. I have had it take 3-7 minutes depending on length.
It then very quickly auto transcribes. And yes it has some errors, that are easily fixable. Basically I duplicate the sequence after transcription and make a cut version that I can cut out the pieces I want and cut them into another timeline. You can immediately jump around or search in the transcription, and just having the transcription follow along on the sequence helps my comprehension of what is being said.
This is truly life-changing! This is the most amazing new feature I have run across in an editing program.
And you can also export a txt file with the transcription though it doesn’t contain the timecode or the speakers, and I would love to see the ability to add in the timecode and to add the speakers for more than single speaker transcriptions. Currently the export txt is grayed out in Premiere Pro 2021, but works in the beta.
Transcriptions have always been helpful to find specific things in a long testimonial, but having them connected to the sequence where you can literally jump to an individual word is beyond amazing!