Angelo Lorenzo
Forum Replies Created
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Did you try deactivating and reactivating your license as well?
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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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 -
GH2 footage works just fine, it’s not a compatibility issue so much as it may be an installation issue.
https://helpx.adobe.com/premiere-pro/kb/features-presets-missing-premiere-pro.html
https://helpx.adobe.com/premiere-pro/kb/missing-sequence-presets.html
If you reinstalled but didn’t uninstall first then it may not have helped.
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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 -
Ah, that’s pretty ingenious, a double key. Didn’t cross my mind.
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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 -
Have him dye his hair or you should get ready to rotoscope a lot of frames; I suggest stocking up on Red Bull if you choose the latter.
Keying on green is highly preferred for a few reasons: digital sensors are more sensitive to green thanks to the bayer pattern (you end up with better edge detail in the green channel), and it’s also one of the colors furthest away from the hue family that makes up all human skintones.
The alternate suggestion would be keying with magenta, but I think you’d be hard pressed to find a backdrop or paint that is pure in hue enough to get the job done.
Rosco florescent pink is the only paint color I think may be near appropriate, but I have a feeling it is not indigo enough to fully protect skintones. Quarts are extremely expensive too.
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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 -
“Editing modes” are just camera-specific presets for the timeline size and preview codecs. They are malleable and any deviation will become a “custom” edit mode.
If you look closely, the only thing that has changed is that Premiere sensed that your footage was non-drop-frame, while the strict P2 preset assumes drop-frame timecode.
The preview codec and other timeline specifications remain identical so far as I can tell.
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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 -
That’s just how Premiere functions. Both endpoints on the timeline and the program monitor are not absolute, it depends on your zoom level.
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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 -
https://blogs.adobe.com/premierepro/2011/04/closed-captions-in-adobe-premiere-pro-cs5-5.html
https://tv.adobe.com/watch/short-and-suite/closed-captions-in-premiere-pro-cs55/
https://www.video2brain.com/en/videos-3769.htm
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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 -
Why don’t you ask Park Rd Post what they want as far as a deliverable? It’s going through their pipeline so I’m sure they have preferred formats. It’d be easy to say DPX or ProRes HQ 444 but they may recommend something that isn’t as overkill for your particular purpose.
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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 -
What are you trying to do exactly? Get the sequence ready for PluralEyes?
Create a new timeline, lay Camera A down (video layer 1, audio layer 1), lay Camera B in another layer above it, then add the two systems of audio in addition audio layers. Export XML.
The job of plural eyes is to sync all sources based on audio. If Camera A and B don’t have audio, then you’re out of luck, but if they do then Plural Eyes is perfect.
Import the processed XML back into Premiere, take the timeline and nest it into another and earmark it as a multicam sequence. You’re good to go.
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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 -
1. In Premiere, simplify your timelines: reduce video to one layer (aka lane or track), remove all but simple transitions like crossfade and dip to black. You may also need to manually convert multicam and merged clips if you use them, although I don’t recall 100%
2. Export a Final Cut XML from Premiere.
3. In Redcine-X, go to File > Import. You will be brought to an interesting window or options. Select the folders where your camera originals are. A top level folder should be sufficient as it will scan deep. Ther default settings should be fine, the only one I would concern yourself about would be framerate. Hit import and select your XML from the previous step. RCX may prompt you to manually relink any footage it can’t match.
4. You should see Redcine-X rebuild your project with RED footage including the bin structure. Watch your timelines and look for errors or other issues.
5. Go to File > Export (Shallow) and export a Final Cut XML (not Final Cut X XML). Import this into a Premiere Pro Project (I would make sure there is no weirdness before merging to your original project). Premiere will ask you the location of your RED files. If they’re all in the same spot then manually relinking one should help Premiere figure out where the others are.
You should be up and rolling with fully conformed timelines.
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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