[Tero Ahlfors]

If your footage is 50 fps and you edit it in a sequence that is 25fps Premiere will drop every other frame automatically to keep the same duration. You can then slow the clips down in the sequence when needed with time remapping.

[Tero Ahlfors]

If you’re getting even semi serious about color you need:

-Calibration software. I use Lightspace but there are other/cheaper options. Calman, Displaycal etc.

-An I/O device (Blackmagic, AJA) that will output uncompressed, untouched signal from Premiere to a…

-Properly calibrated monitor. Preferably one that can load the calibration in the hardware. So what you see on the monitor is what you get.

When it comes to playing the file outside that you should listen to this short podcast from Mixing Light: https://soundcloud.com/mixinglight/mail-bag-ep1-part2

[Tero Ahlfors]

[Jorge Sabas] “But when I edit and render it, It loses the quality”

What are your export settings in AE?

[Tero Ahlfors]

[Dave LaRonde] “I have looked at that clip five times and I don’t even SEE any cables.”

Lower left of the door going next to the stairs. That said I had a hard time seeing them too.

You’ll need:

-A really good removal artist

or

-Mocha Pro that has the remove module in it and a bunch of clean plates from different points of the clip

[Tero Ahlfors]

Don’t modify it to 25. Just edit it into your 25fps sequence and it’ll run at normal speed. Premiere takes out every other frame from the 50fps footage. Then you can add your speed changes on the timeline.

[Tero Ahlfors]

[Arten Koronidas] “You wouldn’t cut a painting in two parts to carry it more easily, so I am trying to do it the hard way.”

Artistic integrity is neat and all but even longer movies are cut up to reels. That 720 hour movie isn’t in one piece because there isn’t a playback system that can deal with a single clip that length.

It would also be sad/hilarious to see a months worth of rendering fail because of a glitch/filled harddrive/power outage/etc.

[Tero Ahlfors]

You will need an HDMI capture device.

[Tero Ahlfors]

If your master is in Prores 4444 they won’t lose quality when you render them out to a different format.

[Tero Ahlfors]

[Walter Soyka] “I wonder what dedicated Ae control hardware would look like.”

It’s not dedicated to AE but there’s the modular Palette Gear thingy. It looks pretty neat.

[Tero Ahlfors]

Or you can set it in the interpret footage settings.