Jamie Pickell
Forum Replies Created
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I worked on many of the videos that are now in the Smithsonian’s new Museum of African American Culture and History and we used Premiere for all our editing. As you can imagine we used a large amount of archival film and stills that came in all kinds of flavors and sizes. I did onlined most of my offline edits so I have experience with most of your questions. I’ll try and answer them below.
1. I haven’t used EditShare so I can’t speak to that specifically.
2. As with most screener clips, the timecode is garbage so you’ll need to eye match the shots. I’ve done this multiple times and have gotten pretty fast at doing this. You’ll run into the same issue regardless of which NLE you use.
3. Do yourself a favor and spend the $99 on Intelligence Assistance Sequence Clip Reporter. You export an XML of your sequence and it will take it and kick out an AEDL (annotated edit decision list). The APs and Producers love it. What used to take hours can now be done in seconds. You will have a very clean Excel spreadsheet with all the info you need.
https://www.intelligentassistance.com/sequence-clip-reporter-cc.html4. You shouldn’t have any issues get a file to your color correction system of choice. I’ve found that each colorist has their own specific way they want something delivered. Sometimes it’s a video file with an EDL, sometimes with an XML and sometimes it’s the file with all the edits added back in with transitions and then media managed with the project and handed off (much more involved, but not the place to go into the specifics).
5. Haven’t used Filemaker Pro, so not sure. We barcoded all of our media and with the barcode could designate what assets were low rez and what were high rez. I believe we used Google Docs.
6. The biggest issue, and this is just Premiere in general, is that if you have a lot of assets (media, render files, cache files, etc.), then you need to have A LOT of RAM on your system. An iMac with 32GB of RAM will start choking after 12,000 assets (had a problem a couple of years ago and posted about it on the Cow, you can search for it if you’re interested). My personal system has 64GB of RAM which allows me to cut a documentary with a lot of assets quite comfortably.
7. Using stills in Premiere is pretty easy and to replace the low rez with the high rez is a piece of cake because of the way Adobe treats the position parameters. Place a low rez, small image on a timeline and you have to increase the size to get it to fit the screen then make your moves on it as usual. Once you get the high rez version, place it on the layer above, drop the opacity of it down to 50%, copy the motion attributes of the low rez and paste them on the high rez. The moves will be identical, but now the sizing is way off. This is where dropping the opacity comes in handy. Go to your first keyframe on the high rez, now adjust the size so that the high rez matches exactly with the low rez. Do this with each sizing keyframe and you’ll have a perfect replica of your move. Bring the opacity back to 100 and you’re good to go. So much easier than when you had to completely rebuild the move in FCP.
Hope this helps,
Jamie Pickell
Freelance Editor -
I had a similar situation on a previous project. I ended up having five timelines, one for each screen. I then imported the Sequences into After Effects using Dynamic Link. I created a comp in After Effects whereby I placed the 5 screens in the positions they would be for the museum display. This allowed me to see how my images were playing with each other along with the music and narration. I could bounce back to Premiere to make a change on a timeline and it would auto update in After Effects. It also allowed me to export the comp from After Effects so that the client could see how the five screens played together.
Jamie
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I had a similar setup for awhile cutting a full hour long show in AVID and then cutting a bunch of short form videos in Premiere. I have the last of the 17″ MacBook Pros that has Thunderbolt 1, Firewire 800 and an ExpressCard slot. I had my media on a GRaid connected via Firewire 800, I ran the thunderbolt cable out to a CalDigit Thunderbolt dock (version 1) which allowed me to attach a second monitor via HDMI. I then used the thunderbolt pass through on the dock to attach an AJA T-Tap to send a broadcast signal to a monitor via HDMI. That setup worked quite well.
Since your laptop does not have Firewire 800, you can use USB 3.0 which I did once I upgraded my system to the new MacPro. The GRaid I was using did not have Thunderbolt and I found that the various Thunderbolt to Firewire adapters (Apple’s adapter and the OWC Thunderbolt dock) were crashing Premiere so I switched to using the USB 3.0 connection and had no issues whatsoever.
I think your MacBook has Thunderbolt 2 so I would recommend getting the CalDigit Thunderbolt Dock version 2 which supports Thunderbolt 2.
Hope this helps,
Jamie -
David,
I found this video to be helpful when I’ve had to do the same type of export: https://www.youtube.com/watch?v=r8wLFSfGNZA
It worked in CC and CC2014, so hopefully it works in CC2015.
Cheers,
Jamie -
Thank you everyone. I found the following on Adobe’s site written by Kevin:
I was able to install the previous versions of CC alongside the 2014 versions.
Cheers,
Jamie -
John,
Thanks for the reply. I’ve actually done the collapse feature on this already. Collapsed all the elements except for my background and then stepped in to do the transitions, but it still transitions the entire screen.
Thanks for the heads up on Automatic Duck. I actually make sure every edit system I work on has those installed, unfortunately I do not have install privileges on this system and with 70+ seats in the facility I doubt engineering is going to get to it any time soon. After I sent my initial post I realized I can add burnin on export before bringing the clips into AE.
Cheers,
Jamie -
Thank you Walter, that is good news indeed!
Cheers,
Jamie Pickell -
Walter,
Is it true that Premiere cannot share media between two or more systems? I’ve heard this repeated by several different people who are in the position of recommending the next NLE to replace FCP 7. Since you use Premiere in your shop, I figure you would know first hand if this is true or not.
Thanks in advance,
Jamie Pickell -
Ryan,
Thanks for the reply. To be honest I wasn’t quite sure what to expect on the render times for the Premiere timeline exports so I guess the 4 hour mark shouldn’t be surprising. As for the AE to AME Matrox export, I was expecting a lot faster given the Matrox built in H264 encoding.
Regarding the AME adding of AE and Premiere Comps / Sequences, it sounds like you recommend not going that route, but rather exporting direct from the host apps. I’ll try an export direct out of Premiere to see if that helps on the timing and not hanging.
Cheers,
Jamie -
I’m currently working on a similar project, so here’s the workflow:
I was given a template in After Effects that has my 4 very large screens. Each screen is it’s own composition and then those 4 compositions are placed in a larger composition to see how they play against each other.
The widest pixel dimension of two of the screens is 4200 pixels, so basically 4K. I’m cutting in Premiere with 4K timelines and have a mask that I drop on depending on the actual screen aspect ratio so I can see how the image will be displayed. Once I’ve cut my sequence, I use Dynamic Link to bring it into After Effects and drop into the appropriate composition. This way any edits I make are automatically updated.
The projection company that gave me the AFX template also gave me directions on how to send my comps from AFX to Media Encoder and the various crop settings needed. For example two of my screens will be cut into 3 Quicktime files.
The projection company is using Pandora to marry all the Quicktime files back together and send them to all their projectors.
Hope that helps,
Jamie
CS 6
MacPro 2×2.4GHz Quad-Core Intel Xeon 16GB RAM
10.7.5
Quadro 4000
Matrox MX02 LE Max