Steve Brame
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Actually…I just noticed that RE:Fill is compatible with Premiere.
Steve Brame
creative illusions Productions -
This task isn’t really easily possible in Premiere. A compositing program such as After Effects is what you need. It’s still not a very easy task in a compositor, but a WHOLE lot easier than in Premiere, and with much better quality.
Here’s a related thread…
https://forums.creativecow.net/thread/2/969516#969519
Steve Brame
creative illusions Productions -
Jon, what a timesaver! We’ve been doing the same thing for years but have always kept the 2 timelines tabbed, which can be a huge hassle switching back and forth. I had no idea that you could break out timelines and stack them like that!
Thanks!!!!!
Steve Brame
creative illusions Productions -
In fact, with CS4 we DID transcode all AVCHD clips to Cineform. Now, when we have to revisit a CS4 edited project, the first thing we do, time-permitting, is replace all of the Cineform clips in the project with the original AVCHD clips so that we can delete the Cineform clips and gain a huge space saving.
Steve Brame
creative illusions Productions -
Don’t know if this is within your budget, but CS5 is MUCH better at handling AVCHD footage than CS4 was.
Steve Brame
creative illusions Productions -
There was a good discussion on this subject a few months ago. If you’ve already read it, forgive me.
https://forums.adobe.com/message/2863568
BTW, how do the NXCAM clips perform in Vegas?
Steve Brame
creative illusions Productions -
If your still in the same session, simply Ctrl-Z(Undo) until the error is corrected.
There may be an easier way, but this is how I’ve always handled this…
If you’ve already closed the project and reopened it, place the playhead at the beginning of a clip in your timeline, then hit ‘M’. This loads that clip’s source file in the Source Monitor and places the Source Monitor’s playhead at the same spot as in the timeline. Set an In point on the source clip. Take the timeline’s playhead to the last frame of the clip, and hit ‘M’ again, which moves the source’s playhead to that point. Set an Out point in on the source. Then just drag the audio from the source to the timeline directly under the relevant clip.
Sounds like a lot, but do it enough and you’ll be surprised at how fast it can be.
Steve Brame
creative illusions Productions -
It really depends upon which version of Premiere you have, as well as your access to After Effects. If you have AE, forget Premiere for keying.
We picked up a copy of Primatte at NAB a couple of years ago, and I really like it. Very powerful, yet really easy to use – typical of Red Giant’s stuff. Still, I learned keying with Keylight, so I seem to feel more comfortable with it.
Steve Brame
creative illusions Productions -
Well…if you’re using CS5, you already have one built in – Ultra Key. We were big Ultra fans back when it was created by a little company known as Serious Magic, which was swallowed whole by Adobe, including their level of support.
But I digress…
I”m assuming that you have ruled out the built-in chroma key effect in Premiere – probably a good idea.
If you also have After Effects, you again have a venerable keyer already there – Keylight.
Boris FX makes their Chroma Key Unit which is a plugin for Premiere.
Steve Brame
creative illusions Productions -
Sync the video and audio in a separate sequence, then simply use that sequence as your source to cut from.
Steve Brame
creative illusions Productions