[Angelo Lorenzo]

Is your footage in a single folders or a single hierarchy of folders? Or is it all spread across your hard drive in a ton of different folders?

I ask because Premiere is usually very good about connecting files recursively. Find one file and it will connect other files in the same folder, the parent folder, the sub folders, etc.

Try reconnecting one project and you may find that you’ll only actually need to reconnect a handful of files for each.

Angelo Lorenzo

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[Angelo Lorenzo]

There are plenty of methods to deinterlace, but most people find Premiere’s default deinterlacing acceptable.

I would do the following:
– Place the footage in a progressive 1080×1920 timeline. Make sure your interlaced footage is set to always deinterlace https://help.adobe.com/en_US/premierepro/cs/using/WSD69D6B9C-1F89-4c85-BCB3-2C946E26246D.html#WS9393E273-9D4D-42f1-AEE5-6B2F9B8D4F46

– Nest this progressive timeline into a dvd formatted timeline (NTSC, lower field first, etc.)

There can sometimes be quality issues if you don’t deinterlace before you resize and reinterlace. This technique forces the proper orders of things.

Angelo Lorenzo

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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

[Angelo Lorenzo]

Lets say we have a lecture with two hosts on lav mics and an audience mic on track three. The two cameras are on each host, and do not face the audience.

Lets say you do multicam with two video and three audio. You can’t cut “on the fly” for the third audio track. You have to cut, select the block and then select audio track three in the multicam editor.

I find it faster just to do multicamera on the two matched audio/video tracks and then do overwrite edits for inserting track three. It avoids editing in extra audio with the cumbersome multicam interface.

You could, alternately, noise gate, auto duck, or keyframe the audio depending on quality. There are ways to automate the mix a little… but proper audio is still some work.

Angelo Lorenzo

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Fallen Empire Digital Production Services – Los Angeles
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Fallen Empire – The Blog
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[Angelo Lorenzo]

It’s really subjective. If you’re working within a limited set of frame sizes and frame rates, I would probably go XDCAM.

ProRes:
Less aggressive compression
No practical limit on frame size
No practical limit on frame rate
Single vendor video codec (con)
Single vendor container (con)

XDCAM:
MPEG-2 4:2:2 @ 50mbps
Limited frame sizes (con)
Limited frame rates (con)
Slightly more aggressive compression (there are online comparisons, and the differences are slight)
Multi-vendor video codec, SMPTE standard MXF container

https://www.freshdv.com/2011/05/f3-xdcam-vs-prores.html

Angelo Lorenzo

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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

[Angelo Lorenzo]

Multicam isn’t designed to take more audio tracks than video, at least in any way that is automated. Here is what I suggest:

– Create your sequence with Cam A and Cam B
– Nest that sequence into another sequence and set the block to enable multicam
– Add the additional audio channel to the second track of audio, below the multicam
– Go to View > Multicam monitor
– In the Multicam monitor, in the upper right of the panel there is a properties icon; select “audio follows video”.

This allows Premiere to switch to Cam A audio during an Cam A cut, and Cam B audio during a Cam B cut. You can then mix in the third track of audio independently of the two based on what you need it for.

Angelo Lorenzo

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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

[Angelo Lorenzo]

This is a Universal Studios set. You’ll notice at 32 seconds that the glass in the door is blown out. This leads me to believe that the set was built with tinted windows to cut light or ND gel was use temporarily against the windows.

Angelo Lorenzo

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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

[Angelo Lorenzo]

Press period (.) when you have your still image in your source (preview) monitor. This will add it to your timeline using an overwrite edit. It sounds like you’re pressing the shortcut or the icon for an insert edit which will, indeed, push other clips down to make room for itself.

Alternately, just drag the still onto a new track of video. Video tracks are like layers so as long as that image is opaque, you’d never see that video existed under it in track one.

Angelo Lorenzo

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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

[Angelo Lorenzo]

After Effects uses ActionScript which is a variation on Javascript.

You’ll probably notice that Premiere and After Effects installed “Adobe ExtendScript Toolkit”. This is the development environment for ActionScript. Premiere is included as a program within it, but is nearly unscriptable (I think it’s there in case you want to grab properties for AE or another program)

https://www.motionscript.com/ lists some good resources to start.

https://library.creativecow.net/toula_jesse/AE-Scripting-1/1 is worth looking at too.

Angelo Lorenzo

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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

[Angelo Lorenzo]

In Final Cut, conform the video to 24fps. This will make it faster but only very slightly. If you have second system audio (from an external recorder) then you have to speed it up, I believe 0.1001% for you to keep lip sync.

This is a higher quality conversion overall because you aren’t resampling/mixing frames, just speeding up audio frequency which is a pretty clean math function.

This is also a very common conversion for telecine to PAL which is a faster 25fps. Once you have to start converting to 29.97 and so on, then there is other tech available to blend video.

Angelo Lorenzo

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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

[Angelo Lorenzo]

I’ve been freelance for a few years full time (after working for a tech company totally not related to media and moonlighting as a photographer and assistant).

Working long hours is part of the job. Will you over promise yourself? Yes, but you’ll get better at avoiding it. Will you come across projects with hard deadlines? Yes, and everyone has to work hard on those.

I’ve done 20 hour days of greenscreen rotoscoping (coffee can only do so much). Does it suck? Yes. Is it everyday? No.

I think the biggest factor is work environment. You’ll hate working for a boss or with clients who grind you down. I lean towards project with the people I consider my second family; I’m lucky to have enough work where I can start turning down things and stick to better stuff.

Put another way: would you rather pull 12-14 hour days for 2-3 weeks straight on something you enjoy or would you rather live in Nebraska and work at a grocery store the rest of your life? That perspective always calms me down.

Of course, this is from the perspective of a mostly single guy in his late 20’s. Once you start throwing relationships and families into the mix, things change. I’m working hard now so I don’t have to as much once I’ve established myself.

Angelo Lorenzo

Love my answer? Do me a huge favor and check out my Kickstarter project The Librarian, starring Jennie Garth of Beverly Hills 90210.

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