Angelo Lorenzo
Forum Replies Created
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There are multiple “gain stages” or points in the signal path where you can add gain to audio within Premiere.
Taken simply, consider the following:
Clip-based effects and clip volume adjustments
Gain applied in effects in the track mixer
The track level sliderI would suggest leveling your voice clips in the timeline to a consistent level that way they all hit the compressor you get the same result. Adjust the makeup gain so you have a solid working level.
I would leave the track slider, if possible, to control the volume of the track for final mixing against other tracks rather than getting it to a “workable” level as another gain stage.
tl;dr use make-up to set a workable level, use the audio mixer to mix against other tracks. Not really a quality issue so much as it sets things up for easier manipulation.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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Didn’t realize, nice tip!
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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Fallen Empire Digital Production Services – Los Angeles
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Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
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There is no guideline, as the amount of light will vary with the size and intensity of the flame. Generally, you don’t want to shoot in full day light as the sun would, more than likely, overpower the light given off by the flame which would render it difficult to see.
Research “footcandle” to get a background on things… it may help get some rough estimates.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter -
Timecode overlay during edit is exactly that. When you are performing an edit in the timeline with your mouse or using the trim commands, you will see timecode – it’s not meant to display timecode all the time which is a point of confusion.
Best thing to do is apply the timecode effect to one clip, set timecode source to “clip” and then copy the effect in the effects panel. In the timeline panel, select all and hit paste and this should paste the effect on all clips. For timeline overlay, add a timecode effect to an adjustment layer.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter -
Another thing to do is use the shortcut “D” key to select the clip under the playhead before applying a clip marker.
This, to me anyways, seems like a new shortcut. I know marking clips in the timeline has been a consistent issue.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter -
I agree with John. Use Speedgrade’s detction, save an EDL from Speedgrade and use that to reconnect within Premiere.
Be wary of using crossfades on adjustment layers as a way to cheat through the dissolves in the video, I recall there being a bug that causes renders/exports to crash. Not sure if it was ever fixed in a patch.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter -
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter -
Ideally it’s this:
Premiere, the film is split up into “reels” approximately 15-20 minutes long and exported as a DPX sequence or other suitable finishing format.Files are ingested into a finishing system like Resolve, Speedgrade, Scratch, and so on.
Any changes to the edit in the interim are done in Premiere and the finishing system receives an EDL of the changes to match.
Finished, graded, footage is returned and then married to audio for output in Premiere.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter -
The work around is render out your master sequence to a file, and then import it in to the different versions, totally side-stepping the need to render nested sequences. Performance should be far better as it should smart render this file on export.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter -
Premiere and OS on SSD.
What kind of video footage are you editing? Are you using heavy Multi camera? Even a standard 7200 RPM drive can handle 1-2 streams of RED 4K footage. If you’re, say, using DPX or some other finishing format then you should step it up and look into a RAID system to improve the speed of standard hard disks.
Don’t bother with SSD for video storage, far too expensive.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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
Can your post production question fit in a tweet? Follow me on Twitter