[Angelo Lorenzo]

“Given the $$ I spent for Premiere Pro you would think this could be done.”

Calm yourself.

If you need to present only trimmed files, export MOV files, jpeg2000 @ 100%, uncompressed audio. If the files are too hefty for you, you can look into Avid DNxHD or Cineform. Avid has different mbps settings, 185 being the highest quality without being overkill although the files come out on the larger side.

Its free for PC and Mac https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545

[Angelo Lorenzo]

it depends on what you feel looks better. Choice C is out the window because I think you degrades the image quality too much overall. As far sharpening with the other two methods you have to understand if you pre-sharpened, you have to sharpen more than what looks good because you lose some of it in the resizing. If you pre-sharpened, I suggest sharpening 1.5x to 2x more than what you thinks looks good visually.

Also, be aware of your output as televisions usually have an additional sharpening control, where computer monitors may not if you’re exporting the web. If it’s going to television consider going a little light handed.

[Angelo Lorenzo]

Alex, what I mean by tenured is any workflow your client may use now and is tied to by force of habit. Basically, are they trying to find a media management solution to fit their current workflow or are they open to being more flexible and using a solution and tailoring their workflow to that?

[Angelo Lorenzo]

New Sequence > General tab, change your editing mode to “Desktop”, this will give you the ultimate flexibility in setting up sequence sizes, framerates, whatever you need.

[Angelo Lorenzo]

Actually, you can’t create subclips with different audio/video sources. You can link the synced audio in a “scratch” timeline and refer to it as needed but these joined clips will not live in your bin.

Subclips in Premiere are just trimmed down original clips.

[Angelo Lorenzo]

MOV container, JPEG2000 codec at 100% quality, uncompressed audio. JPEG2000 is an archival format for many studios, and the MOV container is stable.

[Angelo Lorenzo]

When you say Google TV, I assume one of the device’s streaming channels? The network/station/recipient of the footage should provide you with a spec sheet for the delivered format. Shoot in that resolution/framerate if you know this will be your only outlet or shoot something at a higher resolution/framerate if you know it will convert easily for this job’s deliverable but it still gives you a better master file for other uses.

[Angelo Lorenzo]

The editor can transcode straight to ProRes from the camera file. In Premier go to File>Export>FinalCut XML. This is what the editor needs for a project file. You should be set on your end after that.

[Angelo Lorenzo]

You may be looking at this the wrong way. In Premier your sequence settings are kind of like your canvas. Now, while you cannot rotate your canvas directly, the video clip itself is like a layer and this can be rotated. Basically what you want to do is set up a sequence that’s in portrait mode and then take the video that, I believe, is laying on its side and rotate that 90° using the motion effects control.

Since I cannot see exactly what is going on, I’m trying to take the process and distill it down to something that is very simple and still give you a result. Otherwise, you have to be a bit more clear in what you have now and what you want your finished product to be without muddying the waters with trying to describe what you’ve done so far.

I hope that doesn’t come off as harsh, but it’s a troubleshooting technique that I learned while working tech support for an Internet company.

[Angelo Lorenzo]

Adobe Premier uses Bridge as its media management liaison. I would assume, since the client does sound to be doing work at a very professional level, that the ingestion phase includes adding metadata to their media assets.

Bridge is able to browse file structure as well as search by file name and metatag information, and playback video and audio (although exotic codecs seem to be an issue for it).

Premier also has a project manager. The project manager function will take a current project, strip out unneeded files if you choose, then take all of the bin files and copies, renames, condenses them all in one location. Not ideal if you need your files in a very specific disk folder structure but if you have a project that is just a mess with file spread out all over the place, it may be the first step in getting more organized.

Premier also comes with OnLocation, a tool that helps ease media ingestion on-set. It has metadata tools as well as video scopes to help check any camera issues.

My current folder structure is this:
Job Folder
-Audio
-Separated by day or data dump
-Video
-Separated by day or data dump
-SFX
-Art Assets
-Premiere (for project files)
-AE (for After Effects project files)

Does your client currently use any tenured workflow? Or is this going to be an upgrade where they really make that a priority? Without knowing how granular they want their system to be it would be hard for me to recommend the system as a whole, or not.