[Angelo Lorenzo]

You have to apply the effect to the clips individually. Twixtor, when applied to a nested sequence or precomp treats the video as one solid block which means it will try and figure out the frames between cuts. This leads transitions to warp from one shot to the other.

You don’t notice so much when speeding up footage, but if you are slowing the footage then this isn’t a great workflow.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

As-is, I don’t think so.

In Export > Multitrack Mixdown, in advanced options you can output by mixdown (mono, stereo, 5.1), individual tracks, or by bus. Each is mixed down to a separate file.

If you set up a master bus for each of the 5.1 channels (and you can save a session as a template for future work), then you can mixdown via this option.

If your mix is more complicated, II would go to Menu > Multitrack > Mixdown to file, hit extract to mono once the file is in the bin, and then export those tracks.

Two extra steps, not terrible, but not 100% automated either.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

A DPX sequence is way easier to deal with than an uncompressed video file. It will allow you to re-render and color portions without having to re-render the entire film.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

Are you resizing these graphics in Premiere? You’ll want to check “Maximum render quality” when exporting as your first troubleshooting step; it controls the quality of resized elements.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

Try creating a new CS5 project and in the project bin, right click and select “Import…” and import the project file giving you trouble. This can sometimes clear up random issues as it kind of forces Premiere to read it’s own saved files in a slightly different way.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

In single clip mode, its Effects > Diagnostics > Declipper.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

It depends on how picky the client is. If you aren’t working for a media team who is use to seeing footage that isn’t very contrasy (I assume this was shot with Cinestyle or at least the contrast rolled back) then I would do a quick first look (actually called a first light), to at least wrangle in some nice contrast. I would then export the footage to an intermediate file like ProRes or DNxHD. This can be done in Resolve or, if you have it, Speedgrade.

You can then do your rough cut within Premiere. If it’s not very effects heavy then you can dynamic link single shots out to After Effects for sfx or fixes like motion stabilization. You’ll need to render these shots out in After Effects and replace the dynamic links with real footage, why? So you can bring real footage into Resolve for a final look using an EDL that will basically rebuild your timeline within Resolve.

Alternately, if the video is really sfx or colorgrade heavy, I would create and export a LUT in Resolve instead of rendering out intermediates, and then apply the LUT in Premiere and After Effects using something like LUT Buddy (yes, it even works for CS6, just shuffle it around the plug-ins folder). Your client will see nice previews with some contrast, but you’re working behind the scenes with the flat footage all the way through and then linking the original flat footage in Resolve at the end.

Generally a workflow is:
first light -> rough cut -> edit lock -> effects and conform -> final color and finishing

Of course, depending on your timeline, effects might happen before edit lock once you have a good idea of what shots are part of a particular sequence.

And this takes into account no audio because you’re cutting against a music track.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

Have you seen this page yet? https://www.adobe.com/volume-licensing.html the right-hand column has selections with corresponding phone numbers.

If you’re not looking to volume license, then any technical question you may have before purchasing can probably be answered by this forum.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

The C300 uses the same format as other Canon XF camcorders. The presets don’t really change anything in terms of performance (at least I assume not, they’re both mpeg based camera codecs), so if it matches the framerate/size of your footage you’re good to go. Both the DSLR and Canon XF presets do preview rendering in MPEG I-frame.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

If I recall correctly, Colorista is sluggish because it uses a custom interface and Premiere doesn’t deal with that well. Using it within After Effects should lend itself to being more responsive.

Of course, with After Effects you don’t have scopes. I dropped some coin on the Test Gear plugins by Synthetic Aperture and used that and Colorista as my main color grading setup within After Effects before Davinci Lite/Speedgrade hit the scene.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks