[Greg Janza]

Apple is a phone company and so the idea of putting real effort into developing a larger presence in tv and film is pointless. The tv and movie industry isn’t going to move the needle for Apple’s bottom line.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

those settings are high quality. that file should be good.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Standard workflow is dictated by what your final delivery specs are. Is it not possible for the AE folks to at least give you a guesstimate of the delivery specs?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Are you creating files that are progressive or interlaced? An upper or lower field interlaced file could cause jittery playback but a progressive file should be just as smooth playing back in pro res as from premiere. Can’t hurt to try a high quality H264. You won’t see any noticeable visual difference between a high quality H264 and a pro res.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Does your video playback in premiere without issue? If so, your pro res file is your best guide. What program are you using to play back the pro res? Try a variety of play back
Programs. I.e., vlc, switch, etc.

If it plays back fine in premiere, it’s probably an issue with your computer being able to play back a pro res file.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I think the color grading process is somewhat determined by the types of projects you work on. For example, I’m often working on projects where 1-2 terabytes of 4K b-roll has been shot. With that volume of material it would be a waste of time to prep it all with a base color grade.

So for those projects I only apply color work to the final sequence.

Other projects can also involve massive amounts of b-roll and interview but If i make string outs of everything i’ll add a default LUT to virtually everything because it can be done so easily in the timeline.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

For frame of reference, I have an i7-5820k CPU, 32 gigs of ram and gtx 970 graphics card my media is on a thunderbolt raid and I average about 7-10 minutes to render out a h264 1920×1080 from Sony 4K files with luts attached. Your system should be considerably faster than mine.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Bill Davis] “The correction is “general” to all NLEs – but how it integrates WITH range-based tagging to enhance the FCP X workflow is specific.”

I don’t think that’s any different than attaching a LUT to a clip at the master clip level in Premiere so that any and all usage of that clip will always have the LUT attached.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Andrew Kimery] “on some past projects (unscripted work) I’ve thrown out 3-4 weeks of work because I was told the higher-ups won’t ‘get it’ unless it’s covered in b-roll and there’s music underneath. Such a frustrating and colossal waste of time… but that’s the way the cookie crumbles these days.”

If I’ve learned anything in 20 plus years of editing it’s that 99% of clients have absolutely no ability to envision what the final product will look like.

I guess an analogy is the huge success of home staging companies for real estate sales. Without seeing what’s possible, most prospective home buyers shy away.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Walter Soyka] “Do you find this leads to a lot of re-work?”

the short answer, no. I do a fair amount of work that eventually goes to a colorist for the finishing so my color work is really just to give the client an idea of how it’s going to look in the end. But even for the pieces that I do the final color work, all of the prep LUT work helps make the final color pass much easier.

Outside of having to go back into Audition to re-dump out mixes I don’t think creating more finished rough and fine cuts is adding much additional workload to us editors.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles