Herb Sevush
20
COW Coins
19
Premiere Pro Coins
Forum Replies Created
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[Blaise Douros] ” There are two ways to do it, both of them pretty easy.”
There is a third way that is even easier to execute once you’ve set it up.
Step 1 is exactly as you’ve stated :
[Blaise Douros] “Hit Command-M to open the export dialog. Set up all the settings that you would set for your ProRes version, including the name and export location. When it’s all set, instead of pressing “Export,” press “Queue” and Premiere will send the project over to Adobe Media Encoder.”
However, make sure the Export Location folder is specifically made for this function, because it will be used as a Watch Folder in Media Encoder. Lets call this folder “Source Files”, (obviously you can name the folder anything you want, and it can be on any permanent drive you have.)
In Media Encoder you set up your Watch Folder to export your h.264 file from the ProRes master you just made. This will happen automatically as long as Media Encoder is open, which it will be because you just opened it to make the ProRes file.
Once this is setup, you only have to select your timeline in Ppro, use the Export Media command and Que the file to Media Encoder and specify the “Source Files” location. Media Encoder will make the ProRes, see it in the watch folder and then automatically make the h.264 copy, then place both files in sub folders and clear the watch folder. All this can happen in the background as you continue working in Ppro. The only negative is the generation loss of making your .h264 from the ProRes instead of from the timeline – this loss is close to undetectable.
Here’s a link that demonstrates how to set up a watch folder in Media Encoder.
https://helpx.adobe.com/media-encoder/how-to/create-watch-folder.htmlHerb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
Ashley –
The multicam viewer always shows clips from the lowest active track. If you have track 1 and track 2 active, with multicam elements on track 1, then when you add B-roll (which I assume is not part of a multicam source ) on track 2 the Multicam viewer (left side of the double image screen) should continue to show whatever was placed on track 1, while the Sequence viewer (right side of the screen) will show the B-roll cut in as you intended.
When laying in single source B-roll it’s often better to disable the multicam viewer (I believe the toggle for that is shift-0 ).
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Misha Aranyshev] “There is a subtle issue of having strangers in your house.”
WFH doesn’t lead to strangers in your house, it means developing a workflow that incorporates cloud based review procedures.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Tejus Shah] ” I have multiple lists of names that have a varying amount of people.”
If you can, combine all the lists into one master list, then roll thru. You can combine as a .txt file or in Photoshop as a PNG with transparency.
Manifesto is a great credits plugin for Ppro and it’s free:
https://fxfactory.com/info/manifesto/
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Tim Wilson] ” it’s not just Hollywood that’s renting gear. It’s indie creators all over the world. I can absolutely see this as becoming an increasing characteristic of WFH scenarios, which becomes freelancing on a 3D chessboard. “
The Yin and Yang of rental versus ownership has been going on since I first got in the business 45 years ago.
On the post end, where long term (6 month+) projects can pay off your gear for the equivalent of 3 months of rental, most experienced editors already own their own gear, although storage could still be a rental.
Production is different than post, the pressures to own the latest and greatest are much higher when the object of your interest is placed on a pedestal in the midst of all the action.
When is the last time a producer hired an editor based on what computer (as opposed to what software) he/she was editing on. Which is why renting camera gear has always been a big option.
For editing the pressure comes with scaling up quickly for a new project, and this is where the idea of scaling up with a network of WFH editors can be a new force in the industry if you can come up with the proper workflow.
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Oliver Peters] ” If we truly believe that the majority of post work from now on will be remote, then in the past few years, facility owners have flushed a helluva a lot of money down the drain. That fleet of new Mac Pros? No need for those. That big honking NAS? Nope, should have saved money there. Simply make sure the freelancers you have working from home have adequate set-ups.”
America’s Test Kitchen has been employing a hybrid WFH system since it’s inception 20 years ago, so I might have a different take on things.
Up until the Virus, ATK has been using both an on-site networked post group that handles their voluminous and ever growing social media work, along with handling storage and AE work on broadcast shows. Since the office was closed the social media has gone off-site as well.
Broadcast editing is handled by a group of 3 off-site editors, that have duplicate Raids of material prepared by the AE. Broadcast editors are responsible for final grading and audio work and preparing and posting deliverables. We use Kollaborate as our review platform, we share project files between editors, as well as graphic elements and animation created by outside companies. End of season archives are stored to hard drives ( or lately SSDs) and shipped back to the office via Fed-Ex, everything else is delivered over the internet. We do not use a Proxy workflow even though our material is a combination of HD and 4K.
Off-site editors are not reimbursed for their gear. All 3 of us are happy to trade our equipment costs for the freedom and commuting hours saved from working at home. This works for us because of the volume of work we are getting: each year we are producing 39 half hour shows along with promos, sizzle reels, and spots; I would not be so ready to offer this rate for day work.
I don’t think the post Covid environment will change our workflow very much; there is a value for having an on-site post team available to deal with the immediacy and changes of their social media work, but I can see them staggering the on-site days for their editors, which in effect allows them a larger pool of talent to work with.
Broadcast post changes might occur based on changes in production; both “America’s Test Kitchen” and “Cook’s Country” are shot in studios built into their on-site offices. For this season they are planning a “Cooking From Home” series to be shot by one man crews at the talent’s homes – how this might affect post has yet to be determined. If they find that the quality they are getting is “good enough for Broadcast” while it keeps the costs way down, they might want to integrate some of this workflow into their future plans. Time will tell.
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
I bought the 2019 Mac Pro with stock 32gb Ram ( 16×2 ). I added 64gb ( 16×4 ) and kept the original Ram so I now have 96gb and it works fine. You can mix and match in pairs to your hearts content.
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
Great video, thanks for posting.
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Robert Withers] “Now running PrP on a new iMac. Where can I find a list of active keyboard shortcuts for this software?”
The first menu category at the top of the Ap:
Premiere Pro > Keyboard Shortcuts
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf