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Start to Finish in Premiere CS6

Nov 13, 2012 5:29 PM

Tags: #finish #premiere #import #edit #xmp #metadata #multi_cam #multicam #prelude #edl #multi_camera #bloating #prep #multicam_clip #multi-camera_source_sequence

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

 
Replies 1 2 Previous Next
  • Currently Being Moderated
    Nov 13, 2012 5:52 PM   in reply to apelike_22

    Always interesting to read about positive  experiences...and especially from "converts".

     

    Thanx for taking the time to relate them.

     
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    Nov 13, 2012 6:32 PM   in reply to apelike_22

    We've stuck with Blackmagic though and it's otherwise been great.

     

    Which model?  Will it perform "on-the-fly" conversions?  (Resolution scaling for monitors that don't exactly match your sequence.  Adding pulldown for monitors that can't handle 24p directly.  Etc.)

     
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    Nov 13, 2012 7:23 PM   in reply to apelike_22

    Jon, I really appreciate the level of detail in your constructive comments regarding your PrP experience. You touched upon issues that are unique to post / finishing houses, which are a relatively new addition to the Adobe community.

     

    I hope you dont mind, but I sent it as a link to Al Mooney who is Product Manager for Adobe Premiere Pro.

     

    Adobe listens very closely these days and I felt he might be interested in what you had to day.

     
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    Nov 14, 2012 10:06 AM   in reply to apelike_22

    Thank you Jon. Glad to be of help!.

     

    Just a quick sidebar. Ive been running AJA Kona 3 for years with solid performance, once they got the drivers out to support Adobe changes to CS.

     

    Currently I am running a Mac Pro and an HP Z820 with the most recent Adobe software and AJA drivers. There is 0 frame delay between the GUI display and the external engineering monitors. Audio is also solid. This goes as well for the AE display.

     

    I should say the 2008 Mac Pro is parked on 10.7.4 ( since the PC is my primary edit machine now) and the HP Z820 is running Windows 7 Pro SP1.

     

    Personally I love AJA tech support and product design. I dont care at all for Black Magic . FWIW.

     
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    Nov 14, 2012 11:38 AM   in reply to apelike_22

    I tend to deal in short form as well (commercials, music videos, corporate communications) . But I have read lots of postings from folks who do long form and it seems that issue is a thing of the past. Of course it all depends on the media/codecs you use and the power of the edit system to fuel the Adobe Mercury Playback Engine. I guess a good Googling might reveal the experience of Adobe long form editors. Try to focus on the ones that know what they are doing. So many issues are from folks that are not well informed on editing and editing systems. 

     
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    Nov 14, 2012 2:09 PM   in reply to lasvideo

    Jon,

    Glad to hear your account. I am in a similar boat to you. I am an online editor, and we are a FCP7 house considering the move for offline and online to Premiere Pro. I too have pointed out the deficincies in both the lack of multicam flattening and the edl/xml reliability.  I am working on a tool, which will hopefully be out soon, that uses xml's to relink from offline xmls to online material, for instance color corrected footage from resolve.  It doesn't care about what the length is of the original media, but merely, what was used in the edit in terms of relinking:

    Here is more info: http://www.retooled.net/?page_id=409

     

    The tool works great with FCP7, and for the most part it works well with Premiere Pro, BUT the things you mentioned are of course still problematic. Reverses, variable speed changes, and of course multicams do not come through. I would also love it if all effects could come through even if it was in a part of the xml that only premiere pro could read.  Please let me know if you have any questions, and if you speak to Al please share your support for fully supporting all of this information.

     

    For PP to play with the big post houses, it needs to support all of this information.

     
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    Nov 14, 2012 3:06 PM   in reply to apelike_22

    I would be really interested to hear (read) from you finishing guys, how you work with  XML and why and when you use it as opposed to say EDLs,CDLs AAFs, OMFs...

     

    I have never done anything at all with XML and keen to learn more about it.

     
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    Nov 14, 2012 3:41 PM   in reply to apelike_22

    Apologies for the lengthy response.

     

    Please don't.  It was well said and exactly the info I was looking for.  Thanks.

     
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  • Currently Being Moderated
    Nov 14, 2012 3:49 PM   in reply to reToolednet

    Reverses, variable speed changes, and of course multicams do not come through. I would also love it if all effects could come through

     

    This is what I've been saying needs to happen with Adobe's own grading tool SpeedGrade.  We need the ability to see in SpeedGrade exactly what we see in PP, including all titles, effects, AE comps, transitions, etc.  Nice to hear that same call from higher end professionals like yourself and Jon.

     
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    Nov 14, 2012 4:37 PM   in reply to Jim Simon

    Jon,

     

    As for reLink reTooled, our xml relinking tool, we had to focus on one type of media for its first iteration.  Because I am currently in Final Cut 7 and I want this tool to work across multiple applications, like FCP and PP, we focused on Quicktime files.  So no, it will not relink to image sequences, but that is something that we wanted to look into for later versions once we had the first one on the market.

     

    As for XML in general, it is something that is originally a standard that FCP created for interchange that would be much more full featured than an EDL. It is similar to Avid's AAF.  EDLs are very simple and only contain the 1 track of video and are meant to simply show what the edit is.  An xml however, can not only show the full edit, it can show all the audio, video, position, scale, rotation, crops, and in FCP7 can actually have all effects and settings passed through.  It is basically like your FCP project, but that you can send to another program.  So for instance if the offline editor is in FCP, they can send it to a flame or smoke artist, or even someone doing a conform in Premiere and maintain many of these settings.  Of course, I do have gripes with how Premiere handles xml in that things lings like variable speed changes, freeze frames, and effects (other than simple motion data and regular speed changes) is not maintained.

     

    The reason it makes sense to use an XML over an EDL, is because of these extra things. So if the editor did a split screen of two clips and or had opacity on layers, that will all come through.  In my case, because the color correct is happening at another facilty with a dedicated colorist, the media is a different length and typically a different name than the original clip.  For instance, the original footage might be 10 mins long, and the editor uses 2 5 second segments of it.  The colorist will export the clips with a bit of handles, but only just slightly more than what is used in the edit.  So if the original clip was clipA.mov the 2 new clips might be called ClipA_timecode.mov where timecode is the starting timecode of the new clip.

     

    That is what my app is made to do. Forget about the length of the original media and only care about what was in the edit, then let you relink based on a combination of user selected metadata.

     

    Another reason I tend to prefer xml over edl in the colorist/telecine workflow is that EDLs will cut off tape names over a certain number of characters. XML won't.  Both are of course fine, but it depends on the workflow.

     

    Jim,

    I would also love to see everything be able to pass in every direction within the suite.  All effects, all color correction, should be multi-directions from premiere to ae and back, from premiere to speedgrade and back and all iterations of this.

     
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    Nov 14, 2012 4:40 PM   in reply to reToolednet

    Agreed.

     
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    Nov 14, 2012 5:59 PM   in reply to apelike_22

    Thanx guys  for all the info and thoughts on XML

     

    I can now see that my EDL workflow thru to Resolve and Smoke, Flame ,Nuke etc is as good as it gets for me at the moment and thats fine. Its simple and easy and works solidly as long as we plan our conforming to be mostly in Resolve (with handles taken into the comping suites)

     

    I cant see the roundtrip workflow in the manner Jim wants ever ever happening and I cant see the reason to do so either.

     

    No way I want to cc and grade or apply anything  over the top of fx , transitions, graphics or composites.   ie "burn in everything".  Too restrictive and limiting down the track.

     
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    Nov 14, 2012 6:41 PM   in reply to shooternz

    I cant see the reason to do so either.

     

    The reasons are twofold.  First, you can't grade what you can't see, so we need to see everything.

     

    Second, we're not all so fortunate as to get picture lock.  We need to make changes to the edit after grading, ideally without losing or having to redo the grade.

     

     

    fx , transitions, graphics or composites.  ie "burn in everything".  Too restrictive and limiting down the track.

     

    Agreed.  I don't want them burned in either.  But they still need to show up in SpeedGrade.

     
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    Nov 14, 2012 6:59 PM   in reply to Jim Simon

    Without picture lock...you are in an inefficient and non cost effective,  endless loop. 

    Audio or video finishing workflows..same problem. due to workflow / client management  issues.

     

    I cant see how it even works unless the budget is open ended or the profit margin massive enough to absorb it!

     

    BTW - of course I can see what we are grading... its the source footage as per the offline.( via edl)

     

    The answer to your needs Jim ... is more powerful CC tools in Premiere it self. eg. Speedgrade inside PPRO.  (Resolve inside PPRO would be better still)

     
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  • Currently Being Moderated
    Nov 14, 2012 7:52 PM   in reply to apelike_22

    Well I don't have time to do a full on response right now, but I can say, like Jon finishing is hardly EVER on a locked picture.  Approval process happens after finishing. Agreed, its a bad workflow, but it is the common one when it comes to TV commercials anyway.

     
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    Nov 14, 2012 7:57 PM   in reply to apelike_22

    The "wonder"  of the advertising production system in the USA is that the advertiser / agency manages and pays for the post production.  Not the shoot production company.

     

    Its weird that the Post House cops the overuns..but then...I have seen how much post is budgeted on some of the U.S productions I have worked on.

     
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    Nov 14, 2012 8:13 PM   in reply to apelike_22

    Jon,

    Yeah our offline assistant editors always give EDLs and XMLs to Nice Shoes, Co3, the Mill, etc.  I agree, that the colorist won't use opacity and effects, but for finishing, I want that info.

     

    I stay away from DPX for two reasons, one, the issues you explain with metadata getting lost, and two, pure size.  I typically find ProResHQ or 4444 a good substitute in a much smaller package.

     

    I would love if conform, xml, or even some new universal standard could all be improved upon.  If it could have all the power of xml, but be a bit more open and not controlled by apple, that would make me happy.  But hey, if we could have what we want, everything would be progressive, SD would be dead, there would only be 1 frame rate and 1 codec....  And that all couldn't be further from the truth!

     
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    Nov 15, 2012 4:57 AM   in reply to apelike_22

    In the early days of using quicktimes and final cut, we used to get color changes between fcp7 and after effects all the time.  We realized that was a bug caused by the AJA uncompressed codec that was making uncompressed gamma shift.

     

    Since sticking with purely prores and learning what settings need to be in fcp7 (gamma of 2.2 for codecs like animation) we get 0 gamma shift.  If take our proreshq source export from fcp, import to AE, and back, no shift whatsoever, no the scope or to the eye.  The same of course would go for Premiere to AE.  Because the media, is exactly the same, you just copy and paste your quicktime from one to the other, no issues there.  Again, I am not using Premiere for work yet, but in my tests, no issues.

     

    As for SD, we still have 1 or 2 clients who delivery SD!  It is insane, and even for those who do HD, we'll still often deiliver SD to DG because it is probably cheaper for us to do the downconvert than for them.  I would have to agree, standards are probably getting further away than closer.  I wish there would be some kind of organization in our industry in terms of standards.  For example, a diagram that gets sent out about just what makes a super legal, sure we all know legal specs, but then some clients tell you to make them tiny because...well they don't care, then other clients make them take up half the screen because they are paranoid.  Haha.

     

    Anyway, yes we have majorly digressed.  Going back to Premiere, I do agree with Jon that it has all of the great tools in place to deal with full on offline and online workflows.  Just needs a bit of finessing in certain areas.  I hope it gets there!

     
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  • Currently Being Moderated
    Nov 15, 2012 11:55 AM   in reply to reToolednet

    Continuing to digress for the moment..but (re legal supers / graphic safe)

     

    Can you tell me what is "safe" area for 16:9 where you are? 

     

    What Title Safe setting in PPRO do you use?

     

    I am doing homework as part of a process here in New Zealand to get our 'Standard" changed with NZ broadcasters... so it better matches international standards.  eg BBC, Australia...

     

    Currently it is SD Safe Title!  We are pushing for 14:9.

     
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  • Currently Being Moderated
    Nov 15, 2012 12:48 PM   in reply to apelike_22

    Same here, 4x3 or centercut safe, even on a 16x9 picture.  We always ship spots that way, pretty much 0 exceptions.  Meaning all main action and supers will be in that 4x3 safe zone.

     

    I have images with guides I can use in Premiere or any other program that doens't natively have them.

     
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    Nov 15, 2012 4:25 PM   in reply to shooternz

    Without picture lock...you are in an inefficient and non cost effective,  endless loop. 

     

    Amen, brother!

     

    Still, that is the reality a lot of corporate editors face.  (And yes, the 'invoice' is open until editing is done.  And if - when? - they come back for more changes, it generates another invoice.)

     
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    Nov 15, 2012 4:26 PM   in reply to shooternz
    The answer to your needs Jim ... is more powerful CC tools in Premiere it self. eg. Speedgrade inside PPRO.

     

    Here, here!  (Dynamic Link would be fine, too.)

     
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  • Currently Being Moderated
    Apr 16, 2013 5:22 PM   in reply to apelike_22

    Hi there,

     

    I stumbled across your thread as I've just ended up in a bit of a situation and I'm trying to decide my next best course of action. Here's my situation:

     

    I'm making a short film. I'm a low budget film maker, so I'm doing all the Post Production myself. This is my first film shooting with RED. Because of this, my plan was to Edit in PP, I have like 3 or 4 FX shots I did in AE, and I planned on doing color in Speedgrade. I was going to export an EDL and utilize the full capacity of the raw files in Speedgrade. My issue is though, that I have not done this process in the past on a film, just small tests. My PP project is filled with time remaps, scales, motion (animated camera shake), etc. Upon finally getting into Speedgrade, I realized that none of this data carried over. So now I have to figure out a good work around or solution to my problem. I do not have Resolve or other Color Grading specific software. I don't have money for other software either, so I'd like to stay in the Adobe family.

     

    My options (as I see them, you may have a different or better option):

     

    Color in Premiere: I know the simplest path would be to color in Premiere. I have used this in the past on web stuff and had good results, but with this film I want to get the highest quality I can get. I have both Magic Bullet Looks and Colorista (which I use for secondaries mostly) which I have utilized in the past, but I don't know if they will take advantage of the RED raw data. I know that I can actually do a lot with the metadata right in premiere by using source settings on the clip itself, so I know that's an option, and if I combine that with further enhancements from MB Looks, I may be able to take advantage of the RED footage. Or is there possibly another utility or plug in that I can use to do color right in PP that has more sophistication?

     

    Color in After Effects: Another path would be to do color in AE. It would be a little more troublesome than Premiere, dealing with all the layers and stuff. But I do digital animation and sometimes VFX work, so I know AE like the back of my hand. I know that if I needed to I could start to create adjustment layers for every clip and get an extremely high level of control over my final product. AE has the Color Finesse 3 effect that resembles most Color Grading software workflows. The biggest thing I'd miss would be some of the presets already built into Speedgrade that apply like a LUT or Bleach Bypass or something. But I guess I can use MB Looks on a separate Adj Layer to utilize some of those effects. Currently, I'm leaning towards working out of AE. Unless you feel that I can get a similar level of sophistication out of PP using the RED source settings and MB Looks and Colorista, since that would be a simpler process (probably).

     

    Color in Speedgrade: If there was some work around to get my clips into Speedgrade with the scale and motion information, and preferably time remapping information, then I would like to try that. I don't want to use the send to speedgrade option because it renders out a DPX sequence, and then I feel like I lose out on the advantages of having the RED raw files. And I read some of the above comments, and see that some people might go through and remove time effects, etc, and reapply all the motion, scale, time, effects after all over again. And if it was just the time effects, I probably would, but I did a lot of artificial camera shake, and I feel the effort it would take to redo all that is greater than the extra inconvenience of working out of After Effects. Next time I know, and can prepare appropriately for Speedgrade, but for this time, it's not looking like the best option.

     

    Anyway, I'm sorry for the giant response, but I'm just trying to think of what the best option would be, and I don't know as much about the specifics of each program when it comes to Color Grading and their effectiveness on a professional level. This is also my first film using RED raw data, I've mostly worked on 5D footage, or digital animation, which is all cyber data. I really appreciate any advice or insight that anyone has for me.

     

    Thank you very much

    David

     
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  • Currently Being Moderated
    Apr 16, 2013 5:34 PM   in reply to adobeseco87

    David,

     

    I'm not trying to plug my own product here, but basically it is exactly

    what you are looking for. You can check out the product page here:

     

    http://www.retooled.net/?page_id=784_blank

     

    and blog posts here

    http://www.retooled.net/?p=1153

     

    and here:

    http://www.retooled.net/?p=1177

     

    For my money, it is 100% better to NOT have speedgrade take in that

    information. I say this because, from my own experience, when is an edit

    actually locked. So if you wind up having to tweak your edit you'll have

    to deal with rerender out your whole film or trying to edit in speed

    grade, a nightmare.

     

    With this tool, you can render your color corrected clips, preferably

    with some handles, out of speedgrade. Do your best to maintain the

    original file name, I forget the export option and how you do that, but

    its easy enough. Then you also want to make sure you maintain the

    timecode and render each sot as separate quicktime files. You can use

    something like proresHQ.

     

    Then you export an xml of your cut from your Premiere timeline, bring

    that into our app, relink retooled, point it to your new media from

    speedgrade and it saves out an xml referencing the new media.

     

    Import into Premiere, and all of your speed, scale, position data will

    come back through in that xml (just not effects as PP doesn't support that).

     

    You're done.

     
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  • Currently Being Moderated
    Apr 16, 2013 5:36 PM   in reply to adobeseco87

    Oh, you could also do the same workflow if you color correct in AE. See

    those blog posts for info on that.

     

    That said, speedgrade is definitely more suited for color correction

    than AE. It will also playback a lot more smoothly.

     
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  • Currently Being Moderated
    Apr 16, 2013 8:20 PM   in reply to adobeseco87

    There's a really nice feature coming in PP that allows you to apply your SpeedGrade LUTs and .look files right in the PP sequence.  If you can wait a month or so, it might serve your needs.

     

    http://tv.adobe.com/watch/adobe-at-nab-2013/adobe-premiere-pro-lumetri -deep-color-engine/

     
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  • Currently Being Moderated
    Apr 16, 2013 8:19 PM   in reply to Jim Simon

    Jim is right, we have a video about that on our site as well. The only

    problem is for a film, it can be very manual to have to bring the grade

    for each shot back into premiere. If its a short film it may be workable.

     
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  • Currently Being Moderated
    Apr 16, 2013 8:22 PM   in reply to reToolednet

    It probably is more workable for a grade, where you apply a specific look to an entire range of clips, rather than color correcting, where each clip may need unique adjustments.

     

     

    Still, it's a start...and a very welcome one.

     
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