Angelo Lorenzo
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File > Import… > Select your project file > Select “Import Selected Sequences”
Angelo Lorenzo
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 -
Not sure what would cause this.
1. Make sure you didn’t install some new program that has highjacked the use of the arrow keys aka, have you installed any program while Premiere was working, only to start Premiere and find that “oh, this doesn’t work anymore”
and…
2. Try the simple step of changing those shortcuts to something different, close Premiere and reopen, then change the shortcut back.
Angelo Lorenzo
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 should also say, with a system that is a bit on the weaker side like yours, even though the timeline may be yellow, it only means “this may playback realtime, it may not” so you should probably render your timeline to green for best playback performance. Alternately you can change your playback quality to 1/2 or 1/4.
Angelo Lorenzo
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, there are a few things to consider, like what is the framerate of all the footage? Is it mixed like 59.94 and 29.97 and 24 or are all your sources similar?
Secondly, what is your final destination for this footage, your “delivery” format will help you decide how you should edit.
If it’s YouTube then 720 or 1080 works just fine. I would just go with whatever footage you have most of between the two.
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Lets say, for sake of example, most of your footage is 720p29.97. Make a timeline for it and drop the other footage in.
Your 1080 and 540 footage will have to be resized. In your timeline, right click the affected clips and hit “Scale to frame size”. If you have black bars, as I assume the 540 footage isn’t widescreen based on what you’ve said, just select the clip in the timeline and go to the Effects panel where you can scale and position the clip as needed.
In terms of framerate, Premiere will always keep sound sync so if you have a 720p29.97 timeline and throw some 59.94 footage in there, then it will drop frames to keep sound sync.
If you want to show the footage online, then know all computer-based display formats should be Progressive. If you have a mix of interlaced and progressive footage, you’ll have to watch how Premiere behaves with your interlaced footage. Premiere does a decent job of deinterlacing, but third-party plugins or other conversion methods may leave you with a slightly better result for those clips.
Angelo Lorenzo
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 -
A few questions:
What is your animation codec/format?
Are you rendering the timeline afterwards? A yellow indicator bar only means “may playback in realtime”
Do you get any better performance if you set your playback resolution to 1/2 or 1/4?
Is your camera footage and animation footage on the same hard drive? If the animation is in a “heavy” file format like a PNG image sequence, you may have a bottleneck from the hard drive.
Angelo Lorenzo
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 -
Select clips on the timeline, go to Menu > Clip > Remove Effects…
Angelo Lorenzo
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 IFB earbud is high impedance. The camera is expecting low impedance and doesn’t have the voltage to drive the IFB.
You could use a cheap in-line headphone amp/booster but you will boost noise along with it. Better than nothing, but will make monitoring the quality of sound difficult.
Angelo Lorenzo
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 personally don’t like using variable ND filters. Even the best on the market have issues with shifting color casts as you adjust the filtration; shifting from cool to warm.
If you do some test footage and find that you’re ok with the level of color shift then I say all’s fair. It’s a good chance to lighten the load of your kit.
Angelo Lorenzo
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 -
Impedance is basically electrical resistance for AC circuits. The higher the impedance, the more voltage is needed to make it work.
Most modern electronics use low-voltage driven audio amplifiers so headphones ranging from 18-40ohms. Think iPhone headphones on the low end, larger studio monitoring headphones on the high end. While some high-end audiophile equipment is still high impedance, the trend is towards low impedance design.
An IFB earpiece (surveillance earpiece) can be a few hundred ohms (400-500ohms). As to why this is, I’m not sure… it may be a long standing industry standard or help cut on wireless interference. There is probably an engineering based answer for it.
https://www.head-fi.org/ popping over to their forums may give you a better place to ask in terms of if you should buy a new ear piece, get an in-line headphone amp, or whatever else.
Angelo Lorenzo
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 -
Output card?
Angelo Lorenzo
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