[Robert Withers]

Forgot to mention, Apple Info shows I have Read & Write access for the new drive, and so does my “staff.” I can’t change “everyone” to Read & and Write cause I get an “unexpected error.” Must call Apple to check on this.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Thanks, Daniel.
I’ve been in a process during the last week to learn how to do this uprezing with Red Giant Instant HD plugin. The advantage over Compressor is I can keep my independent clips in Pr CC and continue editing and trimming.
This uprezed material will stand alone as an independent sequence in a longer program, so I won’t have the issue of contrast with adjacent HD shots. I’ll have crisp HD titles with relatively soft images, which will be fine.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I haven’t used Red Giant before but just installed today and have been getting crashes with both CC 2014 and CC 2013. Put a ticket into RG but dead in the water for now.
Both versions of CC repeatedly crash on attempting to open projects that closed normally.
🙁

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Thank you, John, I appreciate your response. I’m curious about one of your comments:

“In practical terms, what happens is that once the color correction is finalized by viewing on a properly calibrated display (either computer, television or projector) then it it output through “transforms” designed for every intended use. Fortunately the makers of finishing platforms are aware and sensitive to the problems you mention and have built in solutions, just don’t forget about the multiple outputs at that moment.”

This suggests that we finalize the color correction/look on some kind of “properly calibrated display,” and I wonder what is the standard for such a display, which would have its own gamma and saturation characteristics. Would this be REC709? I’m probably showing my ignorance here. What defines such a standard and what is it called?

I’m interested in the “transforms” and “finishing platforms” that would then output for intended use. Can you mention any software or hardware by name that does transforming/finishing? Would these be used prior to creating a DCP output or simultaneously?

Thanks for any further insights. I’m trying to learn. I don’t even know the terminology for my questions 🙂
Best,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I shot with this camera a year ago and used no utility or import process. Copy the folder/files over to a drive and was able to read/edit them directly in Pr CC with no importation or transcoding. I think they appeared in .mov files wrappers in Finder but I understand they are actually not QT files.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Yeh. I used to work at a small sound mixing/recording studio that serviced mostly 16mm filmmakers. We had a little booth for VO recording, a nice collection of microphones, lots of 1/4″ tapes with SFX cues, an analog mixing board with outboard digital processors. Most fun: the studio floor could be pulled up to reveal a Foley floor with different surfaces–dirt, plywood, tile–for recording footsteps to picture.

Basic editing and recording strategies seem not to have changed much in recent decades, though now we use computers and DAWs instead of projectors and flatbeds, and there seems to be a huge availability of relatively inexpensive, high-quality SFX libraries since I last cut SFX with 16mm magnetic film clips.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Shane, thank you for your thoughts about FCP and AVCHD. I’m trying to learn more about converters. Partly like I said, for a friend. Premiere is good for me, now. (Though I’m also trying to learn more about what kind of files you can send out into the world to put up on screens after using Premiere for all its multi-codec magic.)

Yeah I have some perspective about tools and exceptional films and all kinds of exceptional art.
Though I wouldn’t think of Stephen King in that context. 🙂

Some artists do get very comfortable with their tools–I used to be really comfortable with celluloid, tape, glue, razor blades and little metal machines with rollers and pins.

Marcel Proust did pretty well with handwritten manuscript and marginal scribbles.

What if you were a carpenter and couldn’t use hammer saw nails to build a table anymore but had to use software?

Or a writer and couldn’t use your typewriter? Well it’s true, the paper and ribbons got really expensive.

So I sympathize with makers who are mostly forced to use digital/computer/tech stuff now cause that’s the way of the world, when emulsions and light were enuff.

Me I’ve been keeping on, through helical scan, HD, AVCHD, FCP and now in Premiere CC. Not everyone loves this digitech drift, but its OK. I wonder where we will be at 200 years into the life of cinema?

(Actually, celluloid still seems like the best archival medium, next to paper.)

Shane, you are such a generous contributor of your knowledge and expertise to all the online editing communities I follow. Your blog is smart and generous too. Thank you!

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

The new Premiere Pro CC: Visual QuickStart Guide is detailed and thorough–as are other books I’ve used in this series. For example, it clearly explains the “Nest Source Sequence” toggle–which CC introduced without documentation–and even specifies how the toggle looks when it’s on and when it’s off. The only drawback of the print book is that the smallish screenshots of the standard CC charcoal interface are very hard to read. But you get a free e-book with the print version and can enlarge the pages on your laptop screen to view more easily.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

This is not an answer to your question about metadata, but I’m interested in file naming practices and description practices. Here’s a blog post from Shane Ross that describes a workflow for a short reportage and includes a section about file organization and naming.

I’m curious about this. For a small DSLR shot, I renamed the camera files to be descriptive, instead of entering log notes as you did. I understood that Premiere keeps the camera file names in metadata, so they’re still there. This could be a little time consuming, since renaming adds a couple of steps. Is it safer to keep the original clip names, like MVI_4256.mov?

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

If you buy a 7.0.1 via ebay or other, you can then do the upgrade to 7.0.3 via Apple for no additional cost.

Robert Withers

Independent/personal/avant-garde cinema, New York City