1. Download Free remote monitor for IOS

   • Compatibility:
   • iPhone Requires iOS 16.0 or later and a device with the A12 Bionic chip or later.
   • iPadRequires iPadOS 16.0 or later and a device with the A12 Bionic chip or later.

2. Download for Windows, Linux or Mac computer. Right now you’ll need a $300 Studio license to get the app.
3. Sign in with a free Blackmagic account

1. Paste the session code received in email or text. You can choose an external monitor if connected.

watch this tutorial

See warnings here and here

On reddit people don’t trust Western digital/Sandisk.

Ever since I started editing in Premiere in 2017 I’ve been exporting ProRes wrong thinking that it’s always 10 bit.

By the way this is the must read Adobe Premiere Pro guide and it’s in there on page 121.

1. Open the Power Point presentation.pptx
2. goto>file>Save AS
3. Choose as destination Computer> then select a folder

4. Double click the folder.> a window opens.

5. In the window change “Save as type” to jpg

6. When you hit return this window comes up>choose All Slides.

7. Wait while the slides are exported.

1. File> Open > Browse to .EDL file> import wizard opens>Choose Delimited > Click Next. 
2. Choose Space, Uncheck the Tab button. > click Next.
3. Choose Text > hit Finish
4. Save the spreadsheet as Excel workbook.
5. Switch to the Data Tab > Top menus.
6. Select all then click the Filter button. This makes each column a sortable category.
7. Click the little arrow next to the column you want to sort and choose Sort A to Z in the menu that pops up.
8. Bam your EDL is now sorted  It doesn’t really matter which column you sort, the point is to get lines that are named to same together for the next step.
9. Select all rows that are NOT the rows you are interested in, for example: you need the SOURCE names of clips in the edl
10. Delete all rows that are not SOURCE by selecting them and choosing delete rows (CRTL – (minus sign))
11. Congratulations, you now have a list of clips used in the sequence without any other clutter. To neaten it up remove all duplicate rows.

AVID do’s and don’ts 2017
In no particular order, listing recent workflow problems I found switching back to AVID this year.

DO

Resources:
Excellent How to import different formats into AVID.

December 2016: It’s happening again with the 2017 version. Get your shit together Adobe, or you’re fired!Hi all, I’m having some trouble with exports via Adobe Media Encoder in Premiere Pro CC 2017, I’m not exactly sure how to describe the problem but have attached a screenshot from a Media Encoder export. This error appears to occur on dissolves and footage dynamically linked to After Effects projects. This error does not occur if I export directly from Premiere Pro. I have encountered this error on both my rig (specs below) and a client’s top-spec iMac (2015 27″ 5K). It has occurred on separate projects created on the respective machines.
OS X 10.11.6
Premiere Pro CC 2017 [11.0.1]
Mac Pro (Mid 2010)
2x 3.06 GHz 6-Core Intel Xeon
48GB 1333 MHz DDR3 ECC
512GB SSD
NVIDIA GeFore GTX 980 Ti
Anyone else encountered similar problems or can recommend anything to try?

Update Aug 3 2016, the fix is in, be careful folks, test your workflows before you commit!
They did it again, that company that I pay $53.49 every month.
A few weeks ago, before starting a big project (the online of a 3 hour PBS documentary), I upgraded to 2015.3 on my 2 Macbook Pro laptops that I use to edit. I took the option to remove the old version, more about that later.
My project specs are:
3x 53 minute reels with mixed formats ranging from 29.97 XD-CAM to DVCPRO to DV to PAL 25 fps footage on a ProRes-422 Timeline with Previews set to ProRes-422. 1920×1080 interlaced.
All was good the 2 weeks before the job came in on short tests. I liked the proxy workflow, liked the connection to my Tangent panels. etc. etc.
Then the job came in and it all quickly fell apart…
-It didn’t work or was super glitchy and unstable with my Red Giant shooter suite and Universe plug ins, even though Red Giant announced they were 2015.3 ready.
–the Lumetri effect was unstable, randomly changed sliders I didn’t touch and, most important, I couldn’t save my presets reliably.
-After each crash there were different inconsistencies with all the edit decisions I made. I kept second guessing myself about stuff I fixed or fx that I did.
-The biggest issue was that after working for 5 days getting this project into premiere from FCP7, I couldn’t render or export!
The stupid new error message that tells me where the render stopped is very unhelpful. Because there is NOTHING I can do to ever render successfully!

I re-installed the old version 2015.2 and re-did the work I did unpaid:
-Of course you can’t open a newer project in the old version.
-I used the video XML’s from FCP 7 to rebuild the timelines.
–Using XML out of 2015.3 for video with FX was glitchy and unreliable, created more crashes.
-Luckily I hadn’t worked on audio much so I made audio-only sequences and the “cut’s only” XML out of 2015.3 to 2015.2 worked fine.
-The good news was that having both 2015.2 & 2015.3 open at the same time using the same video output device (in my case a Ultra studio mini monitor) didn’t create any conflicts or crashes!

Dear Adobe, my clients don’t care what software I use to get the job done. If you rush out versions and then force me to stay up all night, unpaid to fix the project, you’re not keeping me as a friend!  I’ve been using Photoshop for 20 plus years and Premiere as my main editing software for almost 3. This is the second time you rolled out a glitchy, buggy version for us  beta testers. Please give us a break. I don’t care about any new bells and whistles if you keep breaking your basic functions.

This story has a happy ending, because I’ve been working on a stable system for the past 4 days and just did an export of my fully rendered 53 min timeline, using previews, in 2 minutes! That’s 1/25th realtime!
To me that proves that when software is matched with correct hardware, operating system and project specs, Adobe software can do miracles. Adobe should write more honest workflows like this and focus on keeping out bugs when it rolls out a new release.
Of course my experience is based on a specific machine, but I also work on many PC systems and usually experience the same glitches.
Please fill out the survey below.
FAQ: How to go back from Premiere Pro 2015.3 to Premiere Pro 2015.2
The fix is in, be careful folks, test your workflows before you commit!

-No timecode overlays
-No list of previous clips in source monitor.
-No out of sync indicator on timeline. and because of the missing source timecode display, there is no way to put something back in sync!
-Can’t rename clips
-Resolve Cache fills up for no reason, absorbing whatever hard drive space you have assigned to it.
-Absolutely can’t work with compressed files like the ones from DSLR camera’s in H264 codec, in MP4 or MOV. Sometimes video works , but audio for sure won’t.
Resolve only accepts “professional” codecs I-frame codecs like Prores, AVID or Red.
-Only PCM audio, no MP3s.
-Audio dissolves sound horrible, unusable.
-Waveform displays on timeline are unreliable, intermittent or don’t work.
-Message pops up all the time saying you should upgrade to studio version.
Annoying, drives users away!
-Can’t use in & out keyboard shortcuts during fullscreen playback.
-No progress indicators on rendering or cache progress.
-The software is a resource hog, probably works great with 10core, 128GB RAM and dual video cards. It runs like garbage on a computer that can perfectly handle FCPX, Premiere or AVID.

With today’s recordings being written to SD, CF, SxS and SSD’s you have to know one important maintenance trick. Just formatting is not enough because it only wipes the directory, not the entire card!
Flash media can re-assign bad blocks (just like a regular hard drive), but only after you’ve tried to write to them.
Errors in movie files or pictures happen when the camera is writing to media with bad blocks but it hasn’t written there before.
-Always write zero’s (using Disk Utility) to new SD cards immediately after buying it, to re-assign bad blocks.
-Repeat writing zero’s every 6 months or before critical recordings.
Writing zeroes takes about 45 min for a 128GB (Class 10 60MB/s) card with internal Apple reader.
ALWAYS:
SHOOT>OFFLOAD>RE-FORMAT
Reformat with the camera or recorder that will be used with the card.
If something goes wrong: turn off the camera immediately, remove the SD card, and “lock” the card (making it read-only) using the physical switch on the SD card.
Immediately copy the card out.

When corruption sneaks in:
1. is it the card? >are card or contacts dirty?
2. is it the reader? >swap it out.
3. is it the destination drive’s file system?
Run a disk utility on the destination drive and fix errors.
4. is it the software or operating system?
Try something else.

Keep track of SD-cards, their age, brand and when they where zeroed last.
If zero-ing the card yields errors, it certainly is corrupt. Throw it out! Or try warranty:
Sandisk, Transcend, Crucial, Panasonic, Sony
Click here to recover damaged files or cards.
For P2 card recovery call:
Unit of Panasonic Corporation of North America Western Region, Address 3330 Cahuenga Boulevard, Suite 101 ,Los Angeles, California 90068, Phone (323) 436-3507, Fax (323) 436-3517 Contact Mr. Fast

Unit of Panasonic Corporation of North America Northeast Region Address 50 Meadowlands Parkway, Secaucus, New Jersey 07094 Phone (201) 348-7975, (201) 392-4081 Fax (201) 348-5200
Contact Mr. Feldman

Storage solution for Photographer and small indie producers.

on a MAC use Rsync

rsync -avx –progress /Volumes/Macintosh HD/Users/Joe/Documents/Data/ /Volumes/Macintosh HD/Users/Joe/Documents/DataBackup/

Another important advantage of using rsync is that it reads all files on both drives effectivly refreshing the data on a drive that is sitting on a shelf.

Resources:
Verify the integrity of a flash/SD card on Mac & Windows