Enable Clip

CC 2014
Win7 Pro 64 bit
In the timeline, I selected a clip and Disabled Clip. The Premiere user manual Page 197 says
"Disabled clips do not appear in the Program Monitor or in a preview or video file that you export."
However, as I scroll over the Disabled clip in the Timeline, the Program Monitor is blank, but its timecode changes i.e. it acts like the clip is still included in the duration of the sequence. Moreover, the Program Monitor show no change in the total duration of the sequence. Why?
Thanks in advance.

Hi Petrula,
In the timeline, I selected a clip and Disabled Clip. The Premiere user manual Page 197 says
"Disabled clips do not appear in the Program Monitor or in a preview or video file that you export."
However, as I scroll over the Disabled clip in the Timeline, the Program Monitor is blank, but its timecode changes i.e. it acts like the clip is still included in the duration of the sequence. Moreover, the Program Monitor show no change in the total duration of the sequence. Why?
Thanks in advance.
I can see how that might be confusing, however, what you're experiencing is expected behavior for the "Disable" function. It merely shuts off the visibility of a clip, it does not remove it from the sequence. For that, choose either the Ripple Delete or Extract functions. Hope that explains things better.
Thanks,
Kevin

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I am trying to write a JS that will enable the clipping path (a Photoshop Path that will always be named 'Path 1') of a selected picture. Even though I'm a script retard, I imagined even this would be fairly easy to write but it isn't. All I'm trying to do is automate the chore of opening the Clipping Path dialog, changing the path type from 'None' to 'Photoshop Path', and clicking OK.
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A quick search show that the property clippingType of ClippingPathSettings can be set to ClippingPathType.PHOTOSHOP_PATH. As possible parents for the ClippingPathSettings, I get the list EPS, Image, ImportedPage, PDF, PICT, and WMF -- I guess Image is the one for you.
So that would come together as
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Oh, wait -- you can have more than a single path in your PS image. Let's see. ClippingPathSettings also has a "appliedPathName" -- "The name of the Photoshop path or alpha channel to use as a clipping path." How do you know which paths it has? "photoshopPathNames"! ("Array of string; A list of the clipping paths stored in the graphic.")
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i what
path you want to use. If you are confident there's always a single path, you could do something like
yourimage.clippingPath.appliedPathName = yourimage.clippingPath.photoshopPathNames[0];
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Now all clips/files in multitrack screen automatically begin time stretching if boundaries are adjusted - WHY?

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Suite Spot wrote:
I'm not at the studio at the moment but if I recall you would need to uncheck 'Enable Clip Time Stretching" under the 'View' menu option.
I'm pretty sure locking the clips in time will do the same thing.
Can confirm that this is indeed correct...

Working with Heavily Compressed, Long Clips (ie DVD, h264)

Hi all. One of the main reasons I switched to Premiere back with CS5 was the mercury playback engine. I often have to make edits from many different sources and premiere allows me to just edit and not worry too much about it. I've done a good amount of reading on the way it works along with xmp metadata and the media cache and all of the various CFA/PKA files that get created to 'conform' clips. Most often these projects are short clips- the most would be a 12 minute DSLR file...
Recently, however, I had to do a project where the source was 8 DVDs, with 2 hours of footage each. My first thought was Mercury PE to the rescue! Just copy the VOBs to the hard drive and use those! On import it took a few minutes to conform, but then it had weird timecode that I couldn't change. Working with the files was somewhat responsive but not great.
(For clarity, my settings in media cache have the cache to a dedicated RAID, the "Save Media cache files next to originals" is UNCHECKED (because I don't want my project folders cluttered with extra stuff), write XMP ID is checked, "enable clip and XMP metadata linking" is checked and "Automatically refresh growing files" is checked - every 60 seconds.)
I needed the timecode to start at zero - any idea why I couldn't edit the timecode on VOB files that were copied to the hard drive? Anyway, to reset timecode and (I thought) get a better codec to work natively with, I converted to mp4 (h264) using Visualhub (old I know, but easy and stitches files together). These new files were about 3GB each, with the full DVD contents stitched together to 1 file, so I had continous timecode that started at zero (because the notes I was given were done on a DVD player). I have used DSLR h264 files before and they are fine - nothing like these, which were MUCH smaller and only around 1000kbit/sec)
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Did I choose the worst possible by converting to h264? What's a better option? I really didn't want to use prores -- those file would have been huge and the quality is awful to begin with. It'd be insane overkill.
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Thanks.
ScottieB

Fair enough but DV is large too. I'm trying to avoid getting back to huge files if I can but I understand that may not be possible. Is there some sort of intermediate between 1mbit and 25mbit? because even DV is overkill for the quality of footage Im talking about. Actually that's what makes this such a pain - it's such a silly, simple project that it seems insane to go through so much hassle. Not sure converting to DV would solve the weird timecode issue either but perhaps (it's been a while). I guess I was really just expecting this to be quick and easy.
I suppose with all the extra files being created DV wouldn't be that much bigger. I'm just shocked at how slow working with these h264 files was - especially when it came time to render. Once everything was conformed I didn't think it would have to re-scan (or whatever it was doing) when it came time to render.
Thanks for the input.

Ps CS6 Request: Allow clipping of Group to underlying layer

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Please enable clipping of Group to underlying layer.

I think the reality is that there needs to be way more pressure to create such a feature before it has a chance of being actioned. A good example was a recent thread that urged that the brush panel was completely revamped. That had a huge rush of support with dozens of people adding to the thread, and to the feature request ob Photoshop.com
http://forums.adobe.com/message/6084985
http://feedback.photoshop.com/photoshop_family/topics/custom_brushes_sub_menus
I have no way of knowing, but I suspect that issue has a substantually better chance of being actioned than the one in this thread. We have been told in the past that apparently small changes can need a huge amount of work because of the huge size and complexity of Photoshop, and that is completely believable.
So all I can suggest is that you make a feature request here:
http://feedback.photoshop.com/photoshop_family
And post a link to it back here and hope people go and add their 'me too' to it. Personally I find the various work arrounds easy and quick enough, so I wouldn't ne upset if it never happened.

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Thanks for your comment.
Yes, I add comment markers to audio only clips in Prelude. Everything works fine, and I am able to save the metadata. The problem is just that already twice all the markers simply dissapeared. I do not know when this does happen exactly, as I often switch from Prelude to Premiere, and also add markers to the same clip from within Premiere. My files are wav.
Importing the saved metadata file did work, so at least this is a workaround for the meantime, thanks!

Make a clipping Path while retaining it's appearance - script

This has been a long standing wish of mine, and I've devised this script that "kind of" works.
This script takes your selection, copies appearance attributes, and pastes them to the top object after clipping.
It's currently limited in a few ways:
• It does not accept compound paths as clipping object (and I don't know how to test for it, nor how to iterate down said compound clipping object to set each path object to clipping separately)
• It only works with a single stroke or fill
• It does not understand "no fill" it will fill your object with white instead *FIXED*
• I'm hoping to use the "graphicStyle" property to copy the appearance, since that sounds way cleaner. But I don't understand how to.
Even with these limitations, I bound this to CMD+7 using fastscripts - I'm *already* used to it working this way!
Carlos Santos, thank you for writing the base of what became this script
I'd be much obliged if anyone can help me out with any of those limitations / wishes.
#target Illustrator
// script.name = Clip Retaining Color.jsx;
// script.required = at least two paths selected, top most path is the clipping mask;
// script.parent = Herman van Boeijen, www.nimbling.com // 30/11/13;
// *** LIMITED TO A SINGLE STROKE AND/OR FILL OF THE CLIPPING OBJECT***
// Here's hoping to use the "graphicStyles" property to copy over the appearance.
if ( app.documents.length > 0 ) {
    idoc = app.activeDocument;
}else{
    Window.alert("You must open at least one document.");
var idoc = app.activeDocument; // get active document;
var sel = idoc.selection; // get selection
var selectedobjects = sel.length;
function ClipRetainingColour(idoc){
    var lay = activeDocument.activeLayer
    if(lay.locked || !lay.visible){
        alert("Please select objects on an unlocked and visible layer,\nthen run this script again.");
        return;
    var igroup = lay.groupItems.add(); // add a group that will be the clipping mask group
    var imask = sel[0]; // the mask is the object on top
    var clipcolors = [];
    //copy appearance
    if(imask.filled)     {clipcolors.fillColor = imask.fillColor;}
    if(imask.stroked)    {
        clipcolors.stroked = imask.stroked;
        clipcolors.strokeWidth = imask.strokeWidth;
        clipcolors.strokeColor = imask.strokeColor;
    for (var i = selectedobjects-1 ; i > 0 ; i--){
        var ipath = sel[i];
        ipath.move(igroup, ElementPlacement.PLACEATBEGINNING);
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    igroup.clipped = true;
    imask.clipping = true;
    //paste appearance
    if(clipcolors.fillColor)    {imask.fillColor = clipcolors.fillColor;}
    if(clipcolors.stroked)      {
        imask.stroked = clipcolors.stroked;
        imask.strokeWidth = clipcolors.strokeWidth;
        imask.strokeColor = clipcolors.strokeColor;
if (selectedobjects){
    ClipRetainingColour(idoc);

*FIXED IT* - it's working!
I bound this to CMD+7 using the excellent Fastscripts
My clipping paths will be so much more colorful from now on!
Yay!
#target Illustrator
#targetengine main
// script.name = Clip Retaining Color.jsx;
// script.required = at least two paths selected, top most path is the clipping mask;
// script.parent = Herman van Boeijen, www.nimbling.com // 07/12/13;
// *** LIMITED TO A SINGLE STROKE AND/OR FILL OF THE CLIPPING OBJECT***
// Big thanks to CarlosCanto and MuppetMark on the Adobe Illustrator Scripting Forums, and my pal Niels Bom for showing me the debugger (...)
if ( app.documents.length > 0 ) {
    var curDoc = app.activeDocument;
}else{
    Window.alert("You must open at least one document.");
var sel = curDoc.selection; // get selection
var selectedobjects = sel.length;
var clipobject = sel[0]; // the mask is the object on top
var clipcolors = [];
//var pathItems = [];
var container = curDoc.activeLayer;
//Only if there are objects selected
if (selectedobjects){
    if(container.locked || !container.visible){
        alert("Please select objects on an unlocked and visible layer,\nthen run this script again.");
    }else{
    ClipRetCol(curDoc);
function ClipRetCol(curDoc){
    //IF COMPOUND CLIPPING PATH
        if (clipobject.typename === "CompoundPathItem") {
            //copy appearance
            sel = curDoc.selection;
            clipobject = sel[0].pathItems[0];
            CopyAppearance(clipobject);
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            app.executeMenuCommand ('makeMask');
            //Since making the clipping path changed the selection, set variable for selection again
            sel = curDoc.selection;
            clipobject = sel[0];
            clipobject = clipobject.pageItems[0].pathItems[1];
            PasteAppearance(clipobject);
    //IF REGULAR PATH
        else {
            //copy appearance
            CopyAppearance(clipobject);
            //MAKEMASK
            app.executeMenuCommand ('makeMask');
            //paste appearance
            PasteAppearance(clipobject);
}//ClipRetCol END
function CopyAppearance(clipobject) {
            if(clipobject.filled) {
                clipcolors.fillColor = clipobject.fillColor;}
            if(clipobject.stroked) {
                clipcolors.stroked = clipobject.stroked;
                clipcolors.strokeWidth = clipobject.strokeWidth;
                clipcolors.strokeColor = clipobject.strokeColor;}
}//CopyAppearance END
function PasteAppearance(clipobject) {
            if(clipcolors.fillColor)    {
                clipobject.fillColor = clipcolors.fillColor;}
            if(clipcolors.stroked)      {
                clipobject.stroked = clipcolors.stroked;
                clipobject.strokeWidth = clipcolors.strokeWidth;
                clipobject.strokeColor = clipcolors.strokeColor;}
}//PasteAppearance END

Start to Finish in Premiere CS6

I'm freelancing as a finishing artist and offline assistant at a commercial shop in LA that switched from FCP to Premiere a few months back and wanted to share some of the workflow notes we've accumulated over that time. Please feel free to contribute anything or point out things that we might be doing wrong.
First off, the work here is mostly comedy/dialog driven, so lots of long takes, improv from talent, and multicam shoots. The footage we get is more often than not Alexa, and the dailies are, more often than not, generated out of Resolve. Our offline clips are in ProRes Proxy for the moment, because we still need to use FCP for some finishing prep (more on that later).
One note for anyone working with Alexa footage out there: when you are making dailies, or sending specs of dailies out to DITs or facilities to transcode your raw dailies into offline proxies, be sure that the Alexa reel names are getting embedded in the transcode. In Resolve, for example, there's a setting (not on by default), to "use reel name embedded in Source metadata" or something to that effect. This absolutely needs to be in place, regardless of which NLE you're using. EDLs are primarly reel name and timecode driven. Clip names can be squirrely. Be sure your reel names match your source files and you'll save time in color and finishing.
Footage comes in extremely fast and we make heavy use of markers for jotting down notes on lines and transcribing improv takes. The marker list is a really good tool. We've used Prelude on single camera shoots to make subclips with comment markers for general notes and Speech markers for transcription. It works really well, but it would be even better if it integrated multicam since we don't want to mark two cameras separately. So for multicam breakdown and marking, we work in Premiere.
Editing is great. Once the editors got used to the GUI and keyboard, they didn't look back. Playback, trimming and versioning is faster and smoother than FCP7 by a longshot. Sequence-to-sequence editing is missed heavily, as is match frame detection and healing. But overall there's nothing that gets in the way. Playing back audio in the viewer for clients is a bit laggy, but it's a Blackmagic issue. Blackmagic output is sequence based, meaning clips in the viewer can be problematic for client playback since they aren't embedded in a sequence. Audio defaults to SD output, so your monitor will need to toggle between settings if you play back video in the timeline and then audio in the viewer. AJA overcomes this by having a global output that's independent of your sequence setting. We've stuck with Blackmagic though and it's otherwise been great.
Multicam works very well although we've noticed that, when you want to play back a multicam clip in the viewer, it will only display the single cam view in the client monitor. If we want to show the client a contact sheet view, as you can in Avid or FCP, we can't. In the viewer, if you want to view in single camera mode, you have to disable multicam in the viewer. If you try to switch cameras or re-enable multicam viewing in the viewer, it won't work. We have to restart Premiere for that clip to be able to be viewed in multicam mode again. I've submitted a feature request and bug report to allow 1-up viewing of multicam clips in the source monitor that still lets you toggle between cameras, ala Avid.
Adobe Media Encoder is a great utility for postings. For large batches of files to compress, we save a copy of the project in the directory where we want the compressed spots to live, then import the sequences from that project copy into Media Encoder. ME saves the files to the project directory by default, so this is our way of influencing the destination of the batch encode without clicking on every file name.
The only drag with using Premiere right now, relative to working in Avid or FCP, is prepping for finish. The process is pretty rough around the edges and there are some missing utilities that would be great to see in a future release. Here are the issues we've encountered and how we work around them:
- there's no matching back to a source clip from a multicam clip. Nor is there a way to collapse that clip. When Premiere syncs cameras to make a multicam clip, the new clip is self-contained and has its own timecode (starts at 00:00:00:00) and filename that doesn't change regardless of which camera is active. When you dis-enable multicam, nothing changes. If you need to prep an EDL, you have to manually find the source clip and overcut it into the sequence. Premiere won't help with this, so you need to be organized and know where to look to speed the process up. It's a major drag, maybe, for us, the biggest drag in the whole app.
- there's no duplicate frame detection or match frame notifiers. For match frames, it's just a matter of skimming through the sequence to find them. For duplicate frames, it's the same deal. In both cases, exporting an XML of your sequence (no multiclips - those can be erratic when translating into FCP) and bringing it into FCP is the fastest way to get your EDL prepped without duplicate frames or match frame edits.
- EDL export is quirky. It gets the job done, but there are a couple things to be wary of. Most significantly, any time remapping or reverse speed effects should be removed prior to making the EDL. As a finishing artist, I'd rather get all the media in, with handles, and a reference quicktime with text overlays or a standalone document telling me what my speed changes should be than have an incorrect EDL. Unforunately, Premiere's EDL generator will give you incorrect source timecode on reverse speed effects and won't reflect time remapping effects at all (the latter isn't surprising, although it would be nice if it picked the slowest speed and used that as the M2 qualifier so you at least would be guaranteed to have all the media you'd need to recreate the effect). So, remove all reverse speed effects and time remapping and you have no problems. A second quirk, though, is that when exporting video layer 1, any media living on video layer 2 will also show up in the EDL as a key clip. The workaround here is, if you have multiple layers, just keep video 2 empty when generating the EDL. I thought it would be a big issue that there's no way to specify whether the EDL is referencing clip names or file names, but as long as your reel names and timecode are good, accurate clip names aren't necessary for conforming for color or finish.
- OMF and AAF export seems to work fine. No issues to report there.
A couple final notes:
We usually have a few people working on the same project, with one user having read/write access to the SAN directory where the media lives and everyone else having read only access. On all of our systems, we've gone into the Media Preferences and turned off "write XMP ID to files on import." We leave on the "Enable Clip and XMP Metadata Linking" option. This lets the write access user make metadata changes that will then ripple out to other users when they refresh their mounted SAN volumes. Without this option selected, we've had markers, comments, and revised reel names get messed up. I highly recommend these settings for anyone working on a project with common media shared by several users.
We've been hit by project bloating a couple times. It appears to be caused by duplicate links to preview files being added to the code within the project file. These erroneous links can get created when exporting with Media Encoder and selecting the "use Previews" option (a bummer because that can save a lot of time). They can also appear when click-dragging a Premiere project file into Media Encoder, which unfortunately is the fastest way to load a project sequence into ME. You can rescue your bloated project by importing it into a new project, but keep a watchful eye on your project size. I'd recommend a daily import into a new project just to make sure you're safe. It gets big exponentially when it does start bloating, and before long you can have a multigig project file that can't open or be imported.
Overall we love the application and haven't looked back (except to prep) since switching. I've recently worked at other shops using either FCP or Avid and, for loading, breakdown and editing, Premiere feels faster than either one. I'm anxious to see where Adobe takes it in the next release.
Hope this is helpful and I look forward to your thoughts and questions.
Jon

Hi there David,
Thanks very much for getting in touch and hopefully I can give you some useful info to help in your decision making process. I haven't encountered your specific issue and workflow, so take everything I have to say with a grain or three of salt. Specifically, I haven't trid to do final color for a project using either Premiere or SpeedGrade. I've used MB Looks in After Effects on some personal projects and was happy with the results I got given the short turnaround time. That said, the projects I'm most familiar with are colored by a vendor and then conformed on my end in Premiere. I've done minor color tweaks in Premiere, AE and Resolve, but haven't gotten too much into SpeedGrade other than just playing around in it.
With that in mind, I have a couple considerations based on your e-mail.
You have adjustment layers in Premiere and could use your MB Looks and/or Colorista directly in PP the same as you'd do in AE, so I don't see the point in using AE here unless there are significant differences in the performance of the apps. The tech in Looks and Colorista is very cool and will take advantage of the data you've collected in the .R3D files. If you're comfortable in that software and are happy with your results, I'd stop right there. What looks good looks good, no matter how you got there.
One of the limitations you've imposed on yourself seems to be using the .R3D files at all times and making sure all that data is in play at every stage of post. Do you have an anticipated final format? Do you expect to be scanning to film and projecting in a movie theater? Even if that's your expected output format, don't worry about data loss going to DPX. That's an industry standard format for the highest of the high end feature film work. Most of the VFX you see on features shot on RED Epics are not using the .R3D files. They're using DPX files generated from the .R3Ds. Ditto for nearly every commercial you see on the Super Bowl and all your favorite TV shows. So if you want to get into Speedgrade and have it generate the DPXs that may (I haven't done it so I'm not sure) bake in your effects, don't sweat it. Those DPXs will give you plenty of range to work with in color. They chose that as the format to bake to for a very good reason.
You'd need to look at the files with a vectorscope to notice any difference. Also, keep in mind that when RED first came out, professional grading software didn't work with it natively and everything that was shot with that camera and finished for broadcast or cinema required that the .R3Ds be transcoded to something else prior to grading. You really don't lose anything by going to DPX is basically my point here. Tons of data is tons of data, no matter what the file extension is. Purists will crucify me for this, but I've been next to top shelf directors looking at ARRI RAW from an Alexa on set on one $30k calibrated monitor and the ProRes 4444 output from the same camera on another, and they've forgotten which was which. It's easy to go down a rabbit hole with all the file types and codecs and so forth and completely forget about using the single most important tool in the entire business - your eyes. There are specific tasks where that stuff can wind up mattering quite a lot, but for most projects it's overkill.
Lastly, the workflow I'm accustomed to in commercials involves getting the footage graded prior to final VFX being added in. If you're happy with where all your VFX are at, you could duplicate your hero edit, pull out all the effects work so you only have the ungraded plates to work with and send that as an EDL over to Speedgrade if you'd rather use that than the Magic Bullet products. Once that work is done, render out DPXs or Quicktimes of your graded selects and conform with Josh's reLink application (for movie files) or by manually overcutting your footage (for image sequences) and re-applying your effects work. The advantage this workflow gives you is that your effects are still "live" so to speak. Once your footage is graded, it's not unusual for details to emerge that effect your comps. Having the base plates, not the VFX work, graded will give you the flexibility of making tweaks without having to go back to color.
Hope there's something useful in all of this. Congrats on the project and I wish you loads of success with it!
Best,
Jon

Text Wrap doesn't like 1.5mm but anything else is fine

I have a JPG image containing an enabled clipping path placed on a page. A text frame overlaps one side and the text wraps nicely around the edge of the clipping path (selected in the Contour Options) with a 1mm outset entered in the Text Wrap palette.
However, if I increase the outset to 1.5mm, the text stops wrapping altogether: it just runs across the picture as if I had switched Text Wrap off. Any other measurement is fine: 2mm is just great, as is 0mm, 1mm, 3mm, and so on. But at 1.5mm, I get no wrap at all.
I can get around this by switching Contour Options from Same As Clipping Path to Detect Edges, whereupon the 1.5mm outset works as it should. So no real harm done, but does anyone else think this is odd behaviour?
- Alistair

There are several other cut-out pictures on the same page, all with 1.5mm outset Text Wraps that cause no problem. We have removed the offending picture, resaved it in Photoshop, replaced it on the page, etc but it does the same thing.
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Thank you for your suggestions.
- Alistair

Title flash

Happy New year!
I've been having a problem with FCE 3.0. When creating rolling credits, using Title Crawl, everything looks good until I export it to iDVD (not self-contained). Then, when watching the DVD there is a one frame flash of the titles just before they begin to roll up the screen.
Very frustrating and unsightly. I've been able to fix the problem by redoing it from scratch until today when it did it again. Any thoughts on what causes this and how to prevent it?
Schuney

Assuming it's the quirk I think it is.
Enable Clip Overlays in the Timeline.
Enter keyframes in the Titles Video track so at the start the Opacity is 0 (keyframe is at the very bottom).
The next keyframe should be at 100 (on the default opacity line) just before the REAL title starts. You end up with a sloping line for opacity.
This should hide the flash frame provided it occurs within or near the 0 setting. Apply a third keyframe at 0 to give extra control if you like. Keyframes can be dragged up or down, forward or backward as required to get the timing right. Expanding the Timeline will make it easy to see.
Al

Hoverscrub in Bridge for video subclip management

I have a library of hundreds of subclips which I use regularly to create mood videos for clients, but finding a useful way to collate and organise them has been difficult, as I want to be able to assign multiple tags for each video. For example, a video may contain a girl framed in a close up shot, holding a camera, smiling, in black and white, shot at 60 fps. Keeping all this data easily accesible to sort through is difficult. Bridge is probably the obvious choice for this due to its ability for metatagging, but I find the Premiere environment much easier because of the hoverscrub feature and the ease of dropping it into a rough sequence. Hoverscrub in Premiere makes previewing videos effortless - Bridge's preview window is a little more difficult to use.
I guess the ideal workflow would be to be able to either save metadata to subclips when you export them in Premiere and have the ability to search through metadata filters in the Media Browser of exported clips, or for Bridge to adopt Hoverscrub. I've explored Prelude, but it is really only useful for ingesting footage and roughing a sequence for refinement in Premiere, rather than subclipping and tagging with metadata.
Is anyone else in the same predicament as me? How are other users dealing with organising their subclips?

Looked at the clip for hoverscrub and read further explanation. It looks like an interesting way to view video. But think you are correct when you said Bridge is a photo browser, as it was made to reflect needs of Photoshop. While video has been grudgenly added to Bridge and Photoshop, in my opinion, it will always be a token effort. There is something to be said for not going to the universal program that does it all. It usually does not do anything real well.
It appears you can add keywords in PP and view them in Bridge. Here is a copy of a blog to explain how.
The short answer is:
In your Preferences > Media Preferences
choose the checkbox for
"Enable Clip And XMP Metadata Linking Check this box to link clip metadata to XMP metadata, so that changing one changes the other."
This is from:
http://help.adobe.com/en_US/premierepro/cs/using/WSAB1EDD0E-ADC2-4a10-B399-...
Not able to test this now....but you might need to put your keywords in to fields that are common to both XMP data and PPro Project data.
Remember there is some distinction about a FILE that lives in the file system versus how that file is used as a CLIP inside a PPro project. (for example having multiple differently trimmed instances of the same FILE as different CLIPS.) So in some cases in the Project Panel there is metatdata that distinct to the PPro project versus that which is common to the File asset itself.
But as far as creating searchable keywords common to PPro and Bridge, this should be able to be achieved pretty painlessly.

Premiere Pro CS5.5 corrupting source videos?

A bit of an odd occurence with my CS5.5 (trial) installation: It seems to be corrupting videos slightly enough that it can no longer read them, resulting in a "Media Offline" error message when reopening the project. The video files are still there, but will not play back in the Source Monitor. However, they will play in VLC Media Player, though it picks up that the .AVI file is broken and needs to be repaired for playback, and it does.
If I copy the files again from my SD card and repoint the project to them, they will load. However, they will simply be broken again upon restart of the program.
If it matters, the video files are 720p 25fps videos from my Pentax K-r.

This is the HTML output from that software
General
Complete name :
E:\NMC SMBC Video Project 1 - Backup\Pitch (1).AVI
Format :
AVI
Format/Info :
Audio Video Interleave
File size :
103 MiB
Duration :
25s 0ms
Overall bit rate :
34.4 Mbps
Mastered date :
2012/03/05 15:37:29
Writing application :
PENTAX K-r
Video
ID :
0
Format :
JPEG
Codec ID :
MJPG
Duration :
25s 0ms
Bit rate :
33.9 Mbps
Width :
1 280 pixels
Height :
720 pixels
Display aspect ratio :
16:9
Frame rate :
25.000 fps
Color space :
YUV
Chroma subsampling :
4:2:0
Bit depth :
8 bits
Compression mode :
Lossy
Bits/(Pixel*Frame) :
1.472
Stream size :
101 MiB (99%)
Audio
ID :
1
Format :
PCM
Format settings, Endianness :
Little
Format settings, Sign :
Signed
Codec ID :
1
Duration :
25s 0ms
Bit rate mode :
Constant
Bit rate :
512 Kbps
Channel(s) :
1 channel
Sampling rate :
32.0 KHz
Bit depth :
16 bits
Stream size :
1.53 MiB (1%)
Interleave, duration :
1000 ms (25.00 video frames)
Interleave, preload duration :
1000 ms
I do not know what I have in terms of framework and visual C++ - Just what updates windows update makes after a clean install, and after installing CS6. - Are these typically necessary for video editing?
This is what I have in the media cache settings (these are defaults)
Intermediate Media Timebase: 29.97 fps dropframe
Timecode: Use Media Source
Frame Count: Start at 0
Write XMP ID to Files at Import: Checked
Enable Clip and XMP Metadata Linking: Checked
Growing Files: Checked
Save Media Cache Files Next To Originals When Possible: Unchecked

Enable Clip

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