[Angelo Lorenzo]

It’s called “KataData” and, if I recall, it’s $10. I’ve been using it the last few weeks and it’s worth every penny with for productions.

[Angelo Lorenzo]

Actually, interesting trick using phase switch (Audition has this in Multitrack if I recall) and compression from https://www.dvxuser.com/V6/archive/index.php/t-28809.html

Depending on the type and severity of reverb, this may be another trick to try.

“It IS possible to reduce echo in a recording. This is a very old trick and I’m amazed that no one here knew it could be done.
It does take patience but here’s how it’s done.
Make two copies of the track, placed exactly one above the other. Now invert one. The mixed result should be nothing if you’ve got it right so far.
Now start applying compression to only one of the tracks. You’ll need to carefully adjust all the compression parameter so be very patient, pay attention to the threshold, you seem to need to get that just above the level of the echo. Adjustments to attack and decay times will have an impact as will compression ratio.
This trick was used even using two R2R decks, that would have been really tedious!
How does it work?
Well because the echo is at a lower level than what you want and as it’s below the compression threshold the echo on both tracks in unaffected by the compression and hence continues to be cancelled. The compression does however affect what you wish to keep, as the compressor changes the wanted signal on one track it ceases to be cancelled out and bingo.
This works best of course if the wanted signal has some dynamic separation from the echo and I sure wouldn’t recommend it on music but for dialogue I’ve obtained dramatic improvements.”

[Angelo Lorenzo]

Short answer is is no.

Long answer is that reverb is a temporal (time-based) as well as frequency altering affect. Depending on how “wet” the signal is, you could try a well adjusted noise gate or reduce the “feeling” of reverb by boosting the vocal presence frequencies at around 3kHz and 5kHz.

[Angelo Lorenzo]

I’d disagree. I’d say normal text, turn on 3D switch and move active camera. Should give distance perspective including the possibility to light the text as well.

[Angelo Lorenzo]

Let animation be your friend too. If the text slams to the ground and all you see is the corner of the last word and then zoom out to reveal the whole text, it’s one camera move out of many that can also dictate a feeling of scale.

[Angelo Lorenzo]

Dave and Angie bring up good points. I also strongly suggest using key frames spread out as far as possible and then working inwards if the spaces between keyframes need refinement.

Keyframing a roto every frame is 1) a lot more work than what you need to be doing and 2) always creates edge jitter from poor edge accuracy. Even if keyframe momentum only holds for 3-4 frames, it’s better that way.

[Angelo Lorenzo]

I would do a reverse montage (imagine pressing rewind on the video) to return to the original stairwell and then do a simple cross fade to the shot that continues the sequence at the bottom of the stairs. Reenforce it with narration like “If we retrace our steps back to the beginning, taking this stairwell down will allow us to explore this new area of the neighborhood yadda yadda”.

My editing style tends to be very proactive and leading, so it may not be the best choice if you’re a passive editor or working with a conservative client.

[Angelo Lorenzo]

5DmkII as far as I’ve seen is sRGB. It should be noted that the shallow difference between Rec 709 and sRGB is how they apply gamma, but all the color primaries are the same.

https://wwwimages.adobe.com/www.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf should cover all the rest of a color managed workflow in After Effects.

[Angelo Lorenzo]

It’s worth mentioning that Premiere Pro doesn’t have really robust media management or workflow features for multiple editors to work on the same project fluidly like Avid does. You see PPro more with single editors than teams on features/tv.

[Angelo Lorenzo]

I assume you’re exporting .mp4 files based on your settings and not MOV files? If so, are you playing the mp4 files in Quicktime? There is a known bug where Quicktime loses sync with mp4 container files.

If this is the case, render out to MOV with the h.264 codec… a little more dummy proof during client review.