Angelo Lorenzo
Forum Replies Created
-
Or maybe you’re talking about a three point edit?
https://www.youtube.com/watch?v=wCwr0VdfucA
——————–
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 -
Make sure sync is turned on your video and title tracks, position your playhead where you want the clip and perform an insert edit from the source monitor.
https://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d27a.html#WS1BF082C8-C91E-4701-899D-6EC13E317BE3
https://www.youtube.com/watch?v=WnC6y3uJqLw——————–
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 tricksSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
Dynamic Link. Drag the comp from After Effect’s bin to Premiere’s bin. Render a preview once it sits in the timeline.
——————–
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 -
Some of these answers seem a bit misleading.
I suggest trying to bring the jpeg into illustrator. If it’s a good scan but you want something to blow up without quality loss then give Illustrator’s live trace. It will convert bitmap images to vector outlines. If things seem a little blotchy then tune the settings.
If this doesn’t give acceptable results, there are all kinds of OCR programs at different price points. Once you get the OCR result saved as a PDF then you should be able to open it in Photoshop and scale it quite a bit since it’s rasterizing a vector based font.
——————–
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 -
The use of a codec like Xvid in an implementation like screen capture may mean that your video is being encoded at a variable frame rate. Variable frame rate codecs cause uncurable sync issues with Premiere. This is true of some cell phone camera footage. The use of third party video converters before throwing it into Premiere may help.
——————–
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 -
There is no real interoperability with the workflow. You export individual clips from FCP, work with them in AE, render the result and replace clip in FCP.
This is, assuming, you aren’t trying to import full sequences from FCP to AE which is slightly different. After Effects CS6 can actually import a full FCP7 XML file (listed as an automatic duck file format, due to Adobe’s purchase of Automatic Duck, a piece of interoperability software).
Contrary to what the below video states, if you know you’ll be working with effects then you should consider working in ProRes HQ. Lower quality footage would be fine for draft sequences/renders but you probably don’t want the quality loss for the final product.
Additional info:
https://www.youtube.com/watch?v=ez78CGl6nbQ
https://forums.creativecow.net/thread/8/1129990——————–
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 tricksSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
Make sure you even need MRQ. It’s really just an advanced mix of scaling and motion estimated sharpening for those who are scaling HD > SD, etc.
From Adobe:
Maximum Render Quality
Maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply.At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with sufficient RAM. The Maximum Render Quality option is not recommended for systems with the minimum required RAM.
Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening.
——————–
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 -
I agree with Shane, if he wants the job then he should know Premiere or find another editor who does.
If I recall, Final Cut will wrap the r3d files to MOV and will be able to read them with RED’s plugin, no conversion needed. With that said, conforming will be a bit of a headache because you have an XML that will have “.mov” as the file extension. Prepare do a little conform work in Premiere as edits are being brought back into the system. It’s a hassle but at least both systems should be using the same clip timecode; it’s not an impossible task.
Is this FCP7 or X? If it’s X then you need a kind of pricy conversion tool for the XML file it spits out that no one cares to be compatible with.
——————–
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 -
Well would that truly work in your situation? Perhaps if you have the exact same clip or a clip very near in time it would be wasted work.
If you have two small clips separated in time, but they come from the same long high res video clip then how is Premiere to know they’re related?
——————–
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 -
No, it doesn’t “smart interpret” and use all 100fps.
If you drop a 100fps file into a 25fps timeline, Premiere will conform the video and, depending on your settings, either drop or blend frames to maintain audio sync.
I would, in the bin, right click and interpret the footage as 25fps. This makes it play in slo-mo (makes sense). I would then time remap to speed it up to real time; 400%. Then when I want to ramp into slo-mo I would just drop the time remapping to 100%.
It seems like a slightly backwards way of thinking about it, but it’s not difficult to work like that.
——————–
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