[John Heiser]

You’ll need to pull separate keys for each camera angle in the multicam (unless the same key works for all angles, which would be a miracle). Open the multicam sequence in the timeline, mute all but one angle, apply and adjust the key, rinse and repeat.

John Heiser
Senior Editor
o2 ideas
Birmingham

[John Heiser]

I think further animation of parameters in Essential Graphics isn’t possible. You set up all the motion in AE.

There might be some very complicated expression workaround involving sliders and such (“take this keyframe position from this slider and the other keyframe from this other slider”) but that’s way beyond my wheelhouse.

John Heiser
Senior Editor
o2 ideas
Birmingham

[John Heiser]

Make sure the clip you’re working on is selected in the timeline, either manually or with the Selection Follows Playhead option under the Sequence menu. Also, I believe the effect doesn’t get actually added until you adjust something.

John Heiser
Senior Editor
o2 ideas
Birmingham

[John Heiser]

Template projects are easy, and they’re just regular projects. Create the project the way you want and save it to a central location (maybe a folder called Template Projects). Then each time you need it, duplicate and rename that folder/project and begin working. Another way to do this is to import the template project into your new project. In the Media Browser, navigate to your template project, right-click and choose Import.

John Heiser
Senior Editor
o2 ideas
Birmingham

[John Heiser]

“Broadcast monitor” is used here as a synonym for “reference monitor.” Professional reference monitors (Flanders Scientific, TV Logic, Sony, etc.) have superior electronics and hold their alignment/calibration very well. They run anywhere from a few thousand US$ to tens of thousands. If you want to know what color something really is, you use a reference monitor.

That said, most people don’t have the money for a reference monitor (and the small hardware interface to feed it), so a good HDMI monitor can substitute, as long as you keep it properly calibrated. In the past, the HP Dreamcolor had a good reputation. If color is critical, you get what you pay for.

John Heiser
Senior Editor
o2 ideas
Birmingham

[John Heiser]

Scratch disk is set in the project preferences, so it floats with the project. The way I make this happen is to use a template project for everything. It lives in a template folder structure which I duplicate and rename before starting a project, and the template project within has the scratch disk set to a separate SSD I use for for previews and media cache.
screenshot2018-06-06at12.05.53pm.png
screenshot2018-06-06at12.07.34pm.png

John Heiser
Senior Editor
o2 ideas
Birmingham

[John Heiser]

You won’t see any difference in quality. What you will see is better performance from your computer.

MP4s (h.264) are “long-GOP” files and require more computation to play back and edit; the GOP (Group Of Pictures) consists of a full video frame followed by several delta frames, which represent the differences between that frame and the initial frame, making editing more complicated for the processor. ProRes files are “I-frame,” meaning every frame is individually compressed; this makes playback and editing less complicated for the computer.

The other thing you might gain is less artifacting as you apply heavier effects, such as color grading. ProRes is a 10-bit codec, so it won’t fall apart quite so soon. Now, your 8-bit MP4s are still limited in the amount of color information that they hold, so expect some blocking on heavy color adjustments and such.

But the primary benefit of transcoding to ProRes (or DNx) is I-frame performance. This is especially important if you’re working in UHD or 4k, since those files are “heavier” right out of the gate. In that case, use Premiere’s proxy workflow to transcode to ProRes Proxy or ProRes LT for editing. All your exports will still be from the original material (unless it’s offline).

John Heiser
Senior Editor
o2 ideas
Birmingham

[John Heiser]

I would do a base grade on a representative shot from each of the three cameras, then save that grade as an effect preset. It can be a single Lumetri effect or any number of other color adjustments; you can save a single effect as a preset or, if you use multiple effects, select them all and save the group of them as a preset. Call them Cam1, Cam2 and Cam3 or some such.
Then multi-select all the Cam1 shots and drag in the Cam1 preset; same for the other cameras. Now you can go through clip by clip and make adjustments as needed.

John

[John Heiser]

Depends on your video’s final destination. Based on my experiences:

If you’re making a TV commercial, the standard in the U.S. is actually -24 LKFS; this is a measurement designed to keep commercials from overpowering program content (look up “CALM Act” sometime), and isn’t measured on the meters in the timeline or the audio track mixer. Instead, you put an effect called Loudness Radar (Special>Loudness Radar) in the Master channel strip of the audio track mixer. I’m not an expert in its use, but that’s the method. Look up Loudness Radar tutorials on YouTube for some help. On the meters in the timeline, -24 LKFS often can look like an average level betwen -18 and -16, with momentary peaks at -12, but that depends on the content of your mix.

If you’re sending your video to the web or desktop playback, I’ve read in other forums that -16 LKFS is a good place to be.

And now, since I’m not an audio engineer, please stand by for replies to follow which will fill in the gaps or correct my information.

John

[John Heiser]

Colin Smith’s YouTube channel “Video Revealed” has a playlist called “Start Here” which may be good.
https://www.youtube.com/channel/UCfzAdXeniYhIGlFndHYPiYg

John