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PPro CS5 Crash Course for Non-Linear Editors

Dec 6, 2010 1:25 PM

Backstory: I was asked this morning to teach a crash course in Premiere CS5 for the students in the film program at my school in the Introduction to Editing class who have been using FCP. They have to edit several projects using RED footage, and rather than spend a huge amount of time transcoding it to a format which FCP can work with, the prof has just decided to have his students use PPro CS5 (which is also on their editing computers). Since the prof doesn't use PPro, he's asked me to teach the class for him.

 

I created a very brief crash course powerpoint to assist me in giving them the fundamentals of the program, and supply them with a resource to refer back to as they work on their projects after class is over tomorrow morning. I created this for students who already have done some editing in an NLE, and so don't need to be taught WHAT everything is and HOW to cut footage and put together a timeline. This is just to introduce editors to PPro CS5 who are not already familiar with the PPro workflow.

 

Anyway, I wondered if some of you gurus would want to take a look at it and give me your feedback on what I've covered well, what I might have missed, and any other thoughts y'all had.

 

You can view a PDF of the document at www.bryan.edu/pprocs5 The viewer will bring it up embedded in the page at about 40-50%, so you'd be best off to click the download link and open it in Acrobat where you can go full size with it.

 
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  • Currently Being Moderated
    Dec 6, 2010 2:39 PM   in reply to davidbeisner2010

    I just read through this course. It's quite good for a crash course.

     

    My only suggestion for improvement is about the slide at the end that suggests resources for learning Premiere Pro. I'd recommend this page in addition to what you already have. Note that the free tutorials on Lynda.com are also on AdobeTV, since they are one of our partners, but there are also a lot of other video tutorials on our site.

     
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    Dec 6, 2010 5:40 PM   in reply to davidbeisner2010

    Looked at your Tutorial and my comment is that you stepped right past actually EDITING ....and straight into FX

     

    ie. Editing - selection and use of the part of the shot that tells the  story. (Setting In and Out Points, targeting tracks etc...)

     
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    Dec 6, 2010 5:42 PM   in reply to shooternz

    I agree with shooternz, but I thought that that was a deliberate choice to jump into things that were significantly different in Premiere Pro---since David said that these students already know editing in general.

     
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    Dec 7, 2010 6:29 AM   in reply to davidbeisner2010

    Dave,

    Great presentation... I have cs3 and I even saved it for myself for when I upgrade to cs5 ( someday )...

     

    Maybe say something about "saving" the project after it's been created..mention maybe that it will auto save at some point but that sometimes its good to save ( and maybe "save as" ) when doing something really taxing to the project...in case it gets unhappy and stops working ( crash)..

    And maybe mention that sometimes it takes time for assets to conform and being patient and waiting for it to do that is the best practice...??

     

     

    nice job u did

     

    time to go out and eat some grass

     

    ps...

     

    dont know how cs5 on mac handles red, but you know how fcp uses the lower res mov files sometimes ?? on my pc with red I cant do that with cs3...dont know about cs5...I use redcine x to export red raw and THEN put into cs3...so I dont know how your workflow would be different ( how cs5 on mac handles stuff ) ...but if there are differences between fcp and cs5 on mac ( re: those mov files ) you might mention that ??

     

    pps

    might even mention that there is a redcine x for mac at the red website...if they want to check out what it can do "prior" to import to cs5 ( I guess depending on project size and the platform's ( Hard drive size etc ) potential ( power etc ) and the final product

     

    In other words, if utlimately going to DVD it might make sense to use redcine x to export the raw at a lower res for editing so a large project is faster in the editor ....know what I mean ?

     
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    Dec 7, 2010 8:47 AM   in reply to davidbeisner2010
    The class went okay, I guess... I don't know what it is about students these days, but most of them (like all but one) weren't really paying very good attention and they were just sorta goofing off, talking amongst themselves, etc... made it really frustrating to teach this platform!

     

    I have observed similar. If I can get just one student to ask a few questions, rather than give me a "whatever" attitude, I feel that I have complete success on my hands. Even amongst professionals, learning something that can benefit their bottom line, there is a ton of apathy afoot. At first, I thought that it was just be being a horrible teacher, but I'd observe the same thing in seminars, by some pretty dynamic people. Most of the attendees would spend the class time texting, or doing something else. As soon as the Q&A started, they'd all just shuffle out of the auditorium, and the same 20 folk would gather for the next hour, asking questions, while 100 would head to the nearest Starbucks to text some more.

     

    If you got more than one to respond, you have done better, than I am usually able to.

     

    Good luck,

     

    Hunt

     
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    Dec 7, 2010 10:26 AM   in reply to Bill Hunt

    hmmm

     

    I had a couple friends using fcp with red and I thought it automatically saw the mov file you choose and created the intermediate prores file depending on which of the mov files you chose to use...

     

    But they were using powerful computers I think...interesting....

     

    I think their fcp program on mac saw the color profile from the camera in the dir to left and under each "clip" folder is the little mov file "pointers"..

    this doesnt work on pc so sorry I'm not much into the facts here...but they didnt have to use redcine x and it was fast for them

    screen1.jpg

     
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    Dec 8, 2010 7:08 AM   in reply to davidbeisner2010

    Yeah, sorry I dont know more about it, but I use pc and cs3..

     

    Just to re-iterate..I use redcine to knock 2k down to 1280x720..which my computer can handle...otherwise I would ( with good computer and cs5) just edit the raw file ....is weird but the raw is compressed and when I export from redcine using QT animation codec it makes LARGER files in byte count than the raw file...but my computer can handle the size (dimension) OK...so far its working OK for me..

     

    With the FCP stuff that I've just seen in a casual way ( people showing me kinda quickly, like when I picked up the red camera from someone who had it and he had the HD SDI hooked up to a monitor and his computer ( mac with FCP on it ) ---this was a video guy in my film union.

     

    Basically his FCP just automatically saw the red footage ( maybe due to a plug in from red ? ) and creates the prores file ( digital intermediate) and all that was automatic...he didnt do anything but drag the file he chose from the CF card to his computer

     

    I could call him or write email if you want me to ask him more exactly what he does ??  How it works ?? Or put you two in touch with each other...?

     

    Theres one other guy in NC ( owner of this place ... Bryan .... cinemanix.com ) who has red and used cs5 and FCP...that would know this stuff if you want me to ask him...

    He is usually busy as heck though sooo, no guarantee he would answer quickly...

     

    It just seemed to me that the FCP route for long projects with less powerful MAC computers was sorta easy to deal with..

     

    and the export was easy too...from FCP...as the prores is already pointing at the raw file

     

    Good luck experimenting etc

     
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    Dec 8, 2010 7:40 AM   in reply to davidbeisner2010

    hehe..

    never ending ...upgrading and stuff...I just spent half a day deleting a bunch of test stuff and then defragmenting my drives..thats  another constant in computer land I guess..

     

    If you go here and clck on "all about red" and scroll down...youll see samples..maybe what you were looking at was the raw color space and not the broadcast color space ( rec709?

    http://cinemanix.com/

     

    about rec 709 ...

    http://forums.creativecow.net/readpost/242/1160

     

    anyway, I just wrote email to Bryan...asking him about workflow ....but if he's busy it could go into cyberspace beyond Pluto

     
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    Dec 10, 2010 12:17 PM   in reply to davidbeisner2010

    Hiya,

    Bryan wrote back   ( cinemanix.com  ) .....said this -------

     

    ------------

    I am in San Fran this week going insane, but I will be back late  Sunday.

     

    The RED-FCP process is a delicate one.  FCP hasn't kept up with  the 
    rest of the world in terms of technology  unfortunately.

     

    Basically, you will have to log-transfer the RED R3D files  into Final 
    Cut....FCP wants everything in the Apple ProRes  format.

     

    Let me get my head wrapped around this and I will get back to  you 
    early next week.

     

    Cheers,
    Bryan

    ---------------------------

    will keep you posted

     

    Rod

    '

     
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    Dec 11, 2010 10:19 AM   in reply to davidbeisner2010

    I'm providing this feedback as I view the presentation, without having gone over others' comments, so please forgive if there is any overlap.

     

    First thing I noticed is the font.  In some places, it is a bit hard to see clearly.  I'd recommend a simple drop shadow to help your text stand out from the background image.

     

    Next thing I noticed was on slide 32, on how to export.  If the sequence isn't selected, the Export option will be grayed out.  You show it highlighted in the image, but it may be important to say it in words as well, lest someone has the bin or effects pane selected and can't do what the slide says.

     

    On slide 33 I see a text comment that I'd fundamentally disagree with.  Choosing Match Sequence Settings will not ALWAYS give the best possible output, which I'd define as "visually lossless".  That could mean using DPX files, Uncompressed AVI, or some other visually lossless codec like Lagarith, UT, Cineform, etc.  Anything that is NOT visually lossless will NOT be the best possible output.  A better phrasing might be, "will give the closet match to the source media, which may or may not be what you want."

     

    That's it.  Otherwise, very well done.

     
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