Angelo Lorenzo
Forum Replies Created
-
Have them go to File > Export > Final Cut XML. Have them give you the XML file.
In your version of Premiere, start a new project, right click your bin/library and select “Import…” and import the XML. It’ll probably ask you to locate/relink the files, go ahead and do that and you should be rolling.
The files and sequences should come in. Most effects and some transitions will not transfer over this way. Adobe, for whatever reason, really locks up Premiere when it comes to working in previous versions.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
That sounds reasonable then. If you have a lot of rescaling and repositioning then staying native will give you less of a headache that trying to do what would basically be an offline/online.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
I would take the sequence from Premiere’s bin and drop it into After Effect’s bin. The sequence will come in a one block (like a nested sequence/pre-comp) that you can drop into a new composition with your titles. I would then see if there are any After Effects scripts to do what you need.
The sequence is dynamically linked, so if you make changes in Premiere hit save and then go over to AE, right click the sequence in your bin and hit “reload”. If you changed the length of the sequence, you may need to change the length of the comp it sits in as well.
Premiere Pro, as it stands, doesn’t have the scripting capability AE does and I’m sure there are a dozen variations of scripts for what you need to do.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
A few things.
First, with the amount of RAM you have, I would worry about performance in After Effects and Premiere in general.
Secondly, I’m a little confused as to why you aren’t transcoding to an editing codec like ProRes or Avid DNxHD using Redcine X. If your output is 1920×1080 for each of the four images then I’d recommend taking the time hit now than try and work from the 5k files that your computer is trying to debayer and scale in real time. You might be able to bump up the preview resolution to something like 1/4th and it should be the same, if not a little lighter, in terms of disk throughput needed. I’d still hope you’re on something like a RAID0 or RAID5 if you expect realtime playback.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
Premiere Pro’s use of R3D files is good, in comparison to other programs, but is still fairly cumbersome in some regards.
The first issue is solved pretty easily. If your backup has the new RMD files, you can use a sync program (there are plenty out there, and I don’t know if you’re on Windows or Mac so I’ll refrain from recommending one) to say “sync RMD files from drive A to drive B”.
The other workflow issue is within Premiere itself. When Premiere loads an R3D file, its metadata becomes part of the project file. This is cool in the fact that you can go in the “Source Settings…” window and make tweaks to color that don’t affect the original RMD information. On the flipside it also means that updated RMD files are not loaded in any automatic fashion.
You need to right click the RED file in your bin, select “Source Settings…” and at the top of the window hit the button that says “Reload from RMD”.
This process doesn’t seem to support selecting multiple files (it does kind of, but it applies the last selected clip’s metadata to all selected files, instead of applying each individual file’s unique metadata from the RMD), and I’ve yet to find a trick to bypass it one-by-one.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
It doesn’t really.
Photoshop Extended (the slightly more expensive version with video and 3d features) can take in video. You create a video layer then change it into a smart object, this allows you access to more than the first frame.
The issue with color correction is that it has to be done in context. Shot B has to be corrected in terms of Shot A and Photoshop correction is kind of all or nothing.
That isn’t to say that you could never use it, but in practical terms I think it works best for effects like overall sharpening or the addition of grain.
Dedicated tools like Speedgrade, Davinci Resolve Lite (free for footage up to 1080 in resolution, Mac only I believe), or even plugins like Red Giant’s Magic Bullet Colorista and Looks are all better suited for the task.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
It’s personal preference. If you feel like Vegas gets the job done with a minimal amount of headache, then great.
With Premiere, you have the extended toolset of After Effects and Audition which you can push edits to with minimal effort. Vegas seems a bit more all encompassing which could hurt it in some regards.
Another reason to at least look at Premiere, is that it is slowly becoming more of a player in short form editing; filling the hole that FCP7 left. It may be worth learning if that is the case.
Regardless, it’s the difference between a BMW and a Mercedes, both can drive you to the grocery store.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
I would check around, it may be that Speedgrade doesn’t support .MTS files. Since it’s a recent acquisition of Adobe’s, it may not be as robust when it comes to different file types.
You may just need to use the “Send to Speedgrade” command to render out DPX frames from Premiere.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
I don’t think I’d jump to that conclusion just yet. If you transferred the files an additional time from the original media to your old computer, you’ve introduced another variable in your troubleshooting.
Again, I stress using an MD5 or CRC checksum program to check the “damaged” file against the same file on the card. If there is a mismatch, the file was damaged while being copied.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
In the desktop window (your file browser basically), select the root folder where all your video is, then hit “load from desktop”
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services.