[Angelo Lorenzo]

Try Menu Bar > Sequence > Delete Render Files… that might clear something up.

Alternately, what is the file format of your footage and are you using any playback hardware like Blackmagic, AJA, etc.?

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

[Angelo Lorenzo]

If it’s something like the H4N recorder, I usually set the recorder to mono if I know I’m only feeding in one mic.

Alternately I would set Premiere to add stereo tracks as mono. Edit > Preferences > Audio, change stereo from “Use File” to “Mono” and you can set that for 5.1 and other multitrack audio. This splits each channel into individual mono files.

If you have a huge mix of mono-as-stereo files, I would just downconvert them in Audition before bringing them into Premiere so they are true mono.

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

[Angelo Lorenzo]

Try creating a mono submix in the mixer. Send that channel to the mono submix by setting it from “Master” to “submix” and that should merge everything to true mono. Watch out, any stereo tracks will suffer from volume compensation because of the dead right channel, you’ll need to increase their volume by 6db individually.

Off the top of my head, this is the fastest way without doing some reimport magic.

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

[Angelo Lorenzo]

In an ideal world:
– Person in red outfit
– Golfclub painted red
– Shot against green
– Shot with a highspeed camera or at least a standard camera with a high shutter speed like 1/1000th or shorter; You’d have issues with the speed of the club and blurring otherwise

I think you’ll have keying issues keying off black or white. Luma keys are hit-or-miss unless you have a really controlled setting.

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

[Angelo Lorenzo]

Shift+Control+Spacebar, probably Shift+Command+Spacebar on Mac

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

[Angelo Lorenzo]

How large is the cylinder? If its larger than the comp (so you don’t see the text clip another 3d layer) why not just turn on the 3d switch for the footage layer? If the z position of the cylinder isn’t crazy the the footage layer can sit inside the cylinder and hide the back position of the cylinder.

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

[Angelo Lorenzo]

It may be a rolling shutter artifact.

Regardless, I wouldn’t warp stabilize; I would choose to position stabilize or position/rotation. Aerial footage usually has such a flat perspective that simple stabilization looks the best.

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

[Angelo Lorenzo]

Precomp that layer, and then increase the size of that comp beyond your video resolution.

I find this solves some of the edge issues created by the more basic blur and sharpen filters.

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

[Angelo Lorenzo]

In Final Cut Pro, check the scale of the clips in the timeline.

This seems distantly related, but when I export a Final Cut XML from Redcine-X when dealing with RED camera footage and import it into Premiere, I get the same problem: everything looks good in the timeline, but I get a blank monitor. The scale for each clip was set to 0 instead of 100%

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

[Angelo Lorenzo]

Mixes are prepared in terms of dialnorm, a measurement over time of an average section of human dialog. External meters (Dolby makes one for instance, these are not peak or RMS meters) are best but you can export bits of your mix and measure it properly with tools like Audio Leak for mac.

Full theatrical has a dial norm of -31db, this allows massive headroom for things like explosions or other dynamic sounds.

Broadcast will vary by station, but is usually -27db or -24db.

Most theatrical mixes are remixed to -27db for DVD/BluRay.

For Youtube, all is fair. I would try a dialnorm of -18. Why? most people are just blasting levels as high as possible, but -18 gives you some headroom for background tracks and still makes the dynamic range of the mix small enough to sound good through cheap computer speakers, laptop speakers, headphones, and phone speakers.

In terms of #2, if it’s larger than DVD, then you need to follow some level of compliance. DCI has a few 2K based sizes https://en.wikipedia.org/wiki/Digital_Cinema_Package

You may need to have a mastering house prepare a DCP file if theaters don’t take DVD or Bluray.

In terms of your last question, it’s content dependent. The presets will get you there but you can’t crank up the quality too far beyond. DVD has an encoding bitrate limit around 8mbps – 10mbps so you can improve things by using two pass encoding on your master.

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