Exclusive Bonus: my free cheatsheet (with examples) of tried and tested ways to cover a scene or action that will save your skin when your mind goes blank (PDF file optimized for mobiles and tablets). Let’s get started. Where to find help I have been using for a little over ten years now. I don’t edit anymore, but still sit with editors while my projects are being cut. Guess what I do when an editor gets stuck, or we encounter an error message that just won’t go away? I point to the manual. If you don’t read the manual, you’re missing out, period.

More discussions in Premiere Pro CC. 22 Replies Latest reply on Sep. I suspect this is a x64 codec issue with the Canopus. Does anyone have experience with this workflow and this problem? I'd recommend using all Adobe software under a new Admin account. Like Show 0 Likes.

I learnt to edit by reading the manual, and it still surprises me that some editors don’t even know where the manual is. Since I’ll be using for this article, we’ll focus on the documents relating to this particular version. The Premiere Pro CS6 Manual can be found here: For help and support, you can visit this link: If you’re still stuck, the coolest place to ask is the. While you’re working, if you need to access the manual, go to Help>Adobe Premiere Pro help ( F1 on Windows). How do i eliminate duplicates in different accounts in quicken for mac 2017. A word about editing ‘Native’ One of the coolest features of Adobe Premiere Pro is its ability to edit ‘native’ video.

What this means is: if you’ve shot with a certain codec, in a proprietary wrapper, you don’t need to or rewrap the file before you edit. This saves on: • Time (you have to twiddle your thumbs while the transcoding or rewrapping is going on) • Hard drive space (you need to keep both versions sometimes) • Computer life span (the less you render the better, always) I’ll be honest, I tend to stay away from any software that forces me to transcode or rewrap. There used to be a time when one had to transcode, for good reason. Those days are largely behind us. However, there are some scenarios where you have no choice.

E.g., at the time of this writing, the new XAVC codec and the Cinema DNG image format is not supported by Adobe Premiere Pro natively. Until the next update or version comes out, you have to either use a third-party plug-in or transcode into another format. I try to stay away from such workflows.

I can, because I’m not an editor. If you’re an editor, you don’t have much choice. The only time I make an exception to editing native is I’m working with RAW files and I don’t have access to a fast computer. In this case, I use proxies – but never intermediary codecs. Where should your source footage reside?

Your source footage doesn’t change over the course of a project. You start with the native (original) video, or a transcoded copy (either intermediary codec or proxy). Either way, these don’t change. The only thing that happens to them is they are ‘read’. This kind of editing is traditionally called ‘offline’ editing. However, today’s NLEs are capable of online editing (working with the original source files) in a totally non-destructive manner.

Here’s a drawing of my preferred hard drive system: Your source footage must reside on a drive that can ‘supply’ the files at higher than the maximum data rate of the video. E.g., R3D or Cinema DNG files have a maximum data rate of approximately 150 MB/s.

This means the drive system holding the source footage must have a sustained real-world read speed of 150 MB/s or more. There are instances where you might have to call upon more than one clip at the same time. E.g., if you are adding effects, transitions, or are keying, compositing, etc. Depending on how many layers of footage need to be read at the same time, the read speed of the drive must be able to sustain that data rate. E.g., four layers of R3D at the same time means you need a capable of sustaining 600 MB/s or more. To get even more complicated, there are post facilities where the source footage reside in a.

There might more than one ‘station’ reading the same (or multiple) source clips at the same time. The sustained throughput of such a system dealing with huge files is in the order of GB/s.

For these reasons and more, I always recommend that source footage be stored separately, in its own hard drive system, possibly as a or array. When using RAID 1, you might want to invest in a hardware controller and drive system that can multiply the read speeds over the number of drives in the RAID. Software RAID doesn’t usually help you with that.