Angelo Lorenzo
Forum Replies Created
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How did you respond? We received neither an email or a blog comment? I hope our comments are working; I’ll test later.
In any case, I had hoped the idea was that you would experiment with the name section. If I press “M” and select some metadata, I am able to force a split. Try adding “General>EditNumber” to your output name. Adding that variable forced my single scene detected file into multiple files.
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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 -
Uninstall CS4 RED support. Premiere Pro CS6 natively handles scarlet footage and it sounds like there may be some conflicting stuff happening.
Where did you get this project you’re opening but getting an error? Are you editing on a desktop as well? Does the desktop have a preview codec like ProRes? If so then it’s probably not available on your laptop until you install at least one Apple Pro app like Final Cut or Compressor.
If you’re missing RED sequence presets, then just hit cancel when prompted to create one when you start a new project. Import some RED footage using the Media Browser panel. Drag a piece of RED footage onto the New Sequence icon and it will create a sequence that conforms to your footage.
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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 -
More reading on merged clips
help.adobe.com/en_US/premierepro/cs/using/WS2bacbdf8d487e582-73725e6a12e5a6165d0-7fff.html
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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 -
Premiere has no functionality similar so far as I know.
Premiere keeps synced two-system clips together in two ways: grouped clips that exist in a timeline only and merged clips which exist on the timeline and in the bin. I would suggest working merged clips through your post production workflow, as they tend to react strangely to XML/EDL exports and relinking.
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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 -
For sequence presets I’m not sure. Export presets can be imported by opening Adobe Media Encoder. For whatever reason you have the ability to import presets in AME but not in Premiere. Once imported in AME, restart Premiere and they should be available.
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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) Yes, if they are the same version or if you are opening the project in a newer version of Premiere. You will be asked to relink files, but if they’re in the same folder structure that usually means finding one file and Premiere will recursively find the others.
2) Yes, if you export your project as a final cut XML file, you will be able to open it in Final Cut on Mac. The same issue with relinking files will apply within Final Cut as well.
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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 -
No, reinstalling does not fix this functionality issue so far as I know.
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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 -
There are no widely accepted methods. So far as I am aware, everything seems to be unique from organization to organization and there is, generally, very little written about it.
As Sareesh mentioned, SMPTE and EBU will have some whitepapers that are worth reading. You may also find some of the BBC’s resources useful.
I do offer consultancy services for things like this but it usually breaks down into the following considerations:
– How diverse are the efforts in the organization in terms of production. Does in-house mean Alexa/Red production as well as webcam/handheld/mobile/other acquisition.
– Are you working with freelancers or other productions who may not organize footage during principal.
– Is the production department governed by a backup policy from IT or is it flexible enough to implement their own?
– Deliver time frame.
– Budget.
– Need for short-term and long-term backup vs need for constant access.
– In the field it comes down to available equipment and time. Do you have a DIT card with a RAID rackmount unit or a laptop and some portable hard drives? There may be slight strategy shifts for each.
– What is the sign off process for asset/revision approval within management?
– How much/can you afford some IT help in terms of automating backup.
– Questions ad nauseam…
I like using DIT and script supervisor logs as the first step when reviewing footage. Properly logged stuff can be a life saver. During the last days of a feature shoot I was a DIT on, the directors asked me to create a spreadsheet of the scenes we had filmed to compare it to what was left of the shooting schedule. I was able to use the logs, metadata, and a little bit of formatting help from Excel to give them the report without much headache and within an hour.
In terms of organization of footage, I suggest a path of least resistance. Keep camera original names and footage structures (very important in terms of just keeping some footage working like RED and P2, for instance). Even if you transcode footage, keeping the same name allows easier reconforming during finishing.
Talk to your editors, see how they naturally organize footage. If that doesn’t feel right (like the organize by scene) then keep it simple: job# > video > camera# > card/tape/roll# > footage. If you work with many editors, with a large amount of footage, or need a robust management/logging system then look into CatDV.
In terms of backup, major productions get at least two working hard drive (RAID or otherwise) copies, an LTO backup of camera originals, and an LTO backup of the finished program. TV productions will also usually keep backups of the broadcast master on whatever format they deliver in like HDCam.
My partners and I use an internal wiki to keep some of our policies in written form. This allows use to edit and make comments on our policies as the need arises. Technology will keep policy in constant flux.
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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 -
If the timeline shows yellow, then you are fine. Yellow means “may or may not playback in real time. Rendering is optional”. Yellow is the most common color when adding footage to the timeline without the addition of effects.
It is not like Final Cut where the timeline has to be constantly rendered if you’re using a foreign codec.
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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 -
Where is this video coming from? It looks like a game capture; I can begin to assume the capture codec/software is of dubious quality.
Care to elaborate on the source of these originating files?
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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