[Angelo Lorenzo]

Effect > Channels > Invert effect. Set the invert to “alpha”.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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 ProRes works for you (and there are some benefits in general for using an editing codec like ProRes, Cineform, or DNxHD) then check out these Adobe blog posts:

https://blogs.adobe.com/VideoRoad/2011/08/a-prores-workflow-end-to-end.html
https://blogs.adobe.com/VideoRoad/2011/08/prores-workflow-in-premiere-advanced-options.html
https://blogs.adobe.com/VideoRoad/2011/09/interlaced-prores-users-take-note.html

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

That is quite interesting. I have a similar issue where After Effects will freeze and then the program will flicker (I guess it’s trying to open multiple instances of itself?) when importing 5D3 files… I have cineform installed as well. I’ll play around with that solution on Windows.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

https://origin-resources.kodak.com/US/plugins/acrobat/en/motion/hub/Post_Production2.pdf is a nice read, albeit film-centric

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

Not having timecode makes things a pain in the behind.

*** Option 1 ***
Take all of your footage and drop it into a timeline and drop all of your audio in. Sync with Plural Eyes first and import the resulting XML into a clean project. Link/group these audio and video together. You can also merge clips, but these have some workflow limitations https://help.adobe.com/en_US/premierepro/cs/using/WS2bacbdf8d487e582-73725e6a12e5a6165d0-7fff.html#WS2bacbdf8d487e582-424bad0f12efec348c7-8000

Linking/grouping clips = editing from one timeline into another.
Merging clips = editing from source monitor.

***Option 2 ***
If the camera audio is usable then edit. Sync your master timeline with Plural Eyes. This will create gaps as it decides what audio to use and what audio to put to the side. You’ll need to clean the edit from there.

Timecode syncing makes everything easier, with that said, I strongly prefer option #1

Edit to your heart’s content. I suggest having smaller timelines per scene, why? You can move them around in chunks and if you need to re-edit after you’ve completed finishing (color/sound editing) then you only have to pick apart and redo smaller portions of the film while leaving other areas safe and undisturbed.

Once an edit is locked, send the audio to Audition for mixing. Audition can also take a rendered version of your edit as it has a video viewport, so bring in an MOV from Premiere. Edit all audio in Audition… seriously. Editing audio in your NLE is cumbersome and it’s easier to send everything over for more complicated projects than to send over just problem clips. Granted you may need to do some level of fine tuning in your NLE if you plan on screening work for a client/producer/test audience.

At the same time you could be working on effects and color grading in After Effects. Once you have effects like gun flashes, you can bring a new version of the video into Audition to sync any sound effects.

Once sound and effects are locked, you can render out audio and bring it into a master timeline in After Effects and just lay down the audio track. Take the master timeline and drag it onto Adobe Media Encoder and work out all your delivery formats.

So that’s kind of best case scenario, no round trips with rendering so you’re using native media start-to-finish.

Get use to marking timelines with a version number so you can always revert a scene back if you liked a previous edit.

Don’t be afraid to re-edit in Premiere if you need to… yeah it sucks because those portions have to go through finishing again, but it happens. You’ll get use to it as you deal with clients or get more experienced as you work in post. In larger movies, portions of the edit are locked and/or shots are given to VFX companies with extra handles (time on either end) to allow VFX work concurrently with principal editing.

Large films will also start VFX work during principal photography since decisions have been made about background design, possible gags, and so on.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

– Media offline is something you’ll have to live with. As Windows and OSX store their file paths differently, you’ll always be forced to relink media (or at least one file, as most of the other files are found recursively).

– What other specific errors are you getting?

– Are you on Final Cut currently? Or are you using Premiere across the board, but just cross platform?

– How is the shared drive networked? Samba/SMB?

A little more about your methodology (do you lock edit before graphics?) in general would help provide more worthwhile answers.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

Movie posters are designed to be viewed from a bit of a distance. Talk to your printer, but I’ve had printing specs that call anywhere from 72dpi to 150dpi for poster sized art.

27X40 @ 150dpi = 4050×6000 which falls within a 25MP image.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

When in doubt, go to Edit > Keyboard shortcuts. In Premiere this section is searchable.

It appears that Premiere and Prelude cannot be assigned shortcuts for the star rating.

Don’t like it? Submit a feature request https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform

I wish I had a suggestion on Exif browsers for video… something as good as Photo Mechanic is for photos, but I can’t think of one I’d recommend.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

I’ve had to do the same recently to do some SD -> HD conversion for a company that was weary about sending over the digibeta masters overseas.

I like Xmedia Recode https://www.xmedia-recode.de/ – The site is in German so you may need to throw it into Google Translate.

It’s really just a front end for FFMPEG, but it seems to handle the loading of optical disc well. It doesn’t remove copy protection but can be used in conjunction with something like Slysoft’s Anydvd that will. It won’t convert subtitle tracks to MOV subtitle tracks, that is a downside.

As a general usage hint, if you rip to MOV, go to the chapters tab and remove all chapter markers. For whatever reason Premiere Pro doesn’t like these chapter markers.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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]

I’d disagree, slightly. I think the processor isn’t up for the task more so than the hard drive. Dual-core Intels, in my experience, never did too well with HD h.264 video. We had that bottleneck when we jumped from DV to the 5D cameras years ago when it was still a hobby for us. Once we had quad-core machines, things became more stable.

I would just try playing the video on a more powerful machine. That’s your first step.

Angelo Lorenzo
Fallen Empire – Digital Production Services
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