[Casey Pegram]

You might want to try creating a set of LUTs from your favorite VSCO grades in Lightroom, rather than process the entire project in Lightroom, which could get rather cumbersome.

This can be accomplished with Resolve as well as Photoshop. The basic idea is to grade a shot the way you want it in Lightroom (with VSCO and whatever other adjustments), save the grade, and apply the grade to a generic .DPX file that is a type of color chart. This color chart file is a standard format that Resolve can read to recreate your grade by looking at the difference in the ungraded and graded file. Then you can save this grade as a .LUT that will work inside Premiere or AE, which should give you real time playback as well.

You could do the same process for each VSCO preset you plan on using and make your own custom set. The only thing you need to watch out for is that there are no vignettes or grain applied inside Lightroom when you export the look (you’ll add those after the LUT).

This video explains it in more detail:
https://vimeo.com/68513524

[Casey Pegram]

Hey Owain,

For web, I use a modded version of the Vimeo 1080p 23.976 preset in Adobe Media Encoder, where I increase the bitrate to 10/13Mbps for daily work or 35/35Mbps for high end work (where I really want to maximize quality and preserve as much as possible qualities like grain etc). It’s overkill, and probably wasteful, but I figure my best shot is giving Vimeo and YouTube a really high quality image to step on.

As for DVD, not much special advice outside of doing a 2-pass encode at the highest bitrate you can get away with given the limitations of the media and the length of your program. I’m not up on what the best way to downscale HD to SD is these days, having happily not had to author a DVD in many years!

[Casey Pegram]

I’m sure there are differing opinions on this, but for me, here’s the workflow I’ve implemented:

1) Convert .RAW to Cinema DNG with RAW Magic
2) Import footage into Resolve, do basic one-light correction, export prores and FCP XML
3) Import XML/prores into Premiere
4) Edit

Now at this point, you could either:

5A) Go back to Resolve and finish there (relinking to the original Cinema DNG and doing more precise corrections as needed)

5B) Go to After Effects (you will need to switch out your prores shots for the original Cinema DNG sequences manually, I believe, but it did work when I tried) and grade in Adobe Camera RAW, etc

Resolve will be much faster and much less fussy, but some do prefer to ACR debayering of RAW images for the absolute best quality. Resolve 10 has come a long way from the RAW quality of Resolve 9, so I don’t know if this is still a popular opinion or not.

I think for most jobs it makes the most sense to go Resolve -> Premiere -> Resolve. But, on passion projects, I would be tempted to consider finishing in AE/ACR to eke out maximum quality. Plus, working in ACR allows you to apply things like the VSCO film emulation presets used in ACR and Lightroom. So it gives you more options, but the render times are massive, especially compared to Resolve.

Hope that helps!

[Casey Pegram]

I don’t get a text field on my Mac either, but here’s a (sort of) workaround.

It turns out Replace Footage is using your setting from the Reconnect dialogue. So if you have your reconnect settings set to show only exact filename matches, you can’t pick anything other than exact matches in Replace Footage.

If you open up a Reconnect dialogue and uncheck the exact results preference, then you get control back inside Replace Footage.

Obviously these two dialogues should not be inheriting their settings from one another, especially when Replace can’t change it on its own.

But, that’s the ‘fix’ on a Mac for now.

[Casey Pegram]

I’m having the same problem, David, and it’s been driving me nuts!

Here’s a little workaround I’m using for now. It depends on what you’re doing in your timeline, but for me I have a couple seconds of solid black or white between the main program ending and a short tag-on at the end. There’s a PNG network bug that’s onscreen, but other than that the timeline is empty, just a solid color, for a couple seconds. Putting a solid matte in there didn’t make any difference.

So here’s the workaround – make whatever’s hanging your video into a prores movie. So in my case, I created a 5-second black matte export and a white matte export. I now use these instead of generating a solid matte inside of Premiere. Cover up any blank space in your timeline with these (or whatever color your like) and you should be good to go.

Of course I hope this is fixed very soon, but for now it lets me stick with the Smart Render workflow that’s been saving me a ton of time on the backend the last week or so.

[Casey Pegram]

Just being able to render my timeline to prores and then export using those same render files is going to be a huge, huge time saver for me.

My only real pet peeve so far is I wish when you muted/disabled output for a track, it had a muted color in the timeline as well. As it is right now, it feels harder to eyeball what’s turned on and off at a glance because the same bright color is still there.

Very handy having duplicate frame indicators and through edits. Also having selectable attributes to copy/paste from one clip to another will be huge in some situations.

Also happy to see all my CS6 plugins came in without issue once I copied them over (Colorista, FilmConvert, Creative Impatience, etc).

I haven’t used it much yet, but I think the clip audio editor is going to be very helpful as well.

[Casey Pegram]

Encore’s end-of-life, I believe.

[Casey Pegram]

Ah, I see it now – thanks Dave!

The scroll wheel integration is pretty slick, as is being able to customize the layout of the track controls.

I also like what they did with eliminating the notion of a ‘work area’ and just using in/out points for renders, but I don’t like the way having an in/out set shades my whole (former) work area.

Actually the color scheme in general is, at least for the moment, less useful to me than in CS6. Why don’t muted tracks have a less gaudy color? I can disable the clips in question, but it’s faster to mute the whole track.

[Casey Pegram]

Thanks everyone for all the helpful replies. Unfortunately, I already have multi-frame rendering disabled in AE, so that must not be the issue.

I think in this instance I might just go with rendering each shot out from AE and bringing it back into Premiere. Long-term though I’d really like to get a handle on what’s causing this because as you can imagine it’s a major workflow hangup.

[Casey Pegram]

Thanks for the suggestions, guys. For right now I’ve solved it in editorial with some creative cropping (meaning zooming in the NLE – it’s 1080p acquisition for 720p delivery, so I’ve got the wiggle room). I played around with it for several hours but couldn’t get my track working to my satisfaction. It’s a very, very shallow focus shot at one point and there’s really nothing to track back there, even Mocha gets tripped up and starts sliding. It seems I’d probably have to track it by hand, which I don’t have time for right now (although that could change).

My plan was to take my track data, paste it onto a solid matte, then use masks on that layer to cut out a couple floorboards in the scene (using alpha track matte). I got this working but of course my floorboards ended up in the air pretty quickly because of the sliding track.

Since you guys have given helpful answers though I’ll post a couple grabs of the shot in question in case I’m overlooking the obvious:

https://img641.imageshack.us/img641/8555/screencap1.jpg
https://img258.imageshack.us/img258/1817/screencap2.jpg

Look at the table on both shots to get an idea of the connection between the two grabs.

Thanks again.