Angelo Lorenzo
Forum Replies Created
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1. Make a copy of your H.264 clip in ProRes,
2. Color it and output in ProRes again.
3. In your media bin (aka library panel in Premiere), right click the H.264 file already involved in the edit and select “replace”.
4. Choose your treated ProRes file and it will replace all edits in the timeline of the original file.This works best, of course, when the replacement file is the exact same length as the original file.
– Angelo Lorenzo
– https://filmsfor.us – helping you sell your film online -
If I recall Ikegami uses DNxHD which is Avid’s competitor to Apple ProRes. If that is the case, you can download the codec for free here:
https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545
And because it’s a Quicktime component, Premiere should work with it just fine.
– Angelo Lorenzo
– https://filmsfor.us – helping you sell your film online -
I’m not aware of any. I’d think large studios could pull it off but they also freight a majority. If you’re traveling with a substantial amount of gear it may be worth looking into UPS to freight it for you.
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You can also use After Effects to encode by dropping frames, the render queue controls are more robust.
– Angelo Lorenzo
– https://filmsfor.us -
Honestly, I don’t know if there is any decent way. Mads reply is sensible but proxy files take time to encode and upload.
Speedwise, I would skip proxy files which would take a day or more to process and opt to offload footage onto a travel drive or blu-ray data disc that can be FedEx’ed. Blu-rays would be the cheapest storage medium, and teams without burners can rent them for a cheap rate.
Data will need to be couriered regardless as it’s too much data to transmit unless each camera team has a business grade upload connection available to them. Your biggest issue isn’t what file service you choose, but the speed of each team’s upload connection.
Fast or free, this isn’t a situation where you can have both.
– Angelo Lorenzo
– https://filmsfor.us/ -
This is normal, After Effects handles video rendering on a fundamentally different level than Premiere which makes real time playback difficult.
Your timeline may be yellow, but ideally you should render by going to Sequence > Render Entire Work Area in Premiere Pro. That will render everything to green in your timeline’s work area, including anything that appears yellow. This is different from just hitting enter/return because that only renders the red areas.
There is rarely a need to render out to a file for the two programs to play nicely.
-Angelo Lorenzo
–https://filmsfor.us/ -
It’s called production insurance or entertainment insurance and you’re best off googling for a broker local to where you reside. If all else fails, you can try photographer’s insurance but make sure they cover motion picture equipment as some do not.
Generally, they are slightly different from normal business liability in that some policies let you claim days lost to weather or actor cancellation (super expensive in some cases), but there are affordable plans covering equipment and crew.
Any kind of equipment insurance also needs to be submitted to rental houses unless you mind paying the full replacement value as your security deposit.
In California, I’ve had no issues paying my friend to use his insurance and co-branding my productions. We do, however, have a contract that states my side is responsible for paying the deductible if something were to occur on our set.
-Angelo Lorenzo
–https://filmsfor.us/ -
I’m also a moderately shy person, however my directing skill improved greatly after reading Directing Actors by Judith Weston.
It’s a book that not only breaks down how to speak to actors to get them to understand you and give you the performance you want but it also dutifully breaks down the process of preparing for a narrative shoot by breaking down the script and so on; the latter being directorial skills a lot of newcomers tend to ignore. How can you direct an actor if you haven’t broken down the script to understand the character, their goals and motivations?
-Angelo Lorenzo
–https://filmsfor.us/ -
It’s kind of a general question and Nick Griffin did well to graze over the subject for you but I do want to bring up one point.
If you are renting lenses for a project, make sure to take your locations into account. If you’re shooting a cramped house you could probably forgo some of the longer lenses unless you’re shooting close ups (CUs) or extreme close ups (ECUs).
If you’re inexperienced, bring your camera with you if you can (If it’s a DSLR for instance) or rent a director’s viewfinder if you’re renting a cam like a Red MX later on.
-Angelo Lorenzo
–https://filmsfor.us/ -
I would say try managing one project solely with metadata and see how you like it. Not to say you’ll fall in love with it but maybe there will be a grain of “hmm, this may be worth pursuing”.
Personally, we shoot a lot of narrative stuff and use one editor so our notes usually come from the script supervisor or client emails. We use paper and digital notes but no metadata.
I would be more anal with metadata under 2 conditions:
1. If there were multiple editors
2. If the product was a documentary or a reality show where interviews or long clips needed additional notes that had to be readily searched.-Angelo Lorenzo
–https://filmsfor.us