Walter Biscardi
Forum Replies Created
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[Ben Holmes] “2. Is the other option for PPro playback, AJA IO XT or Kona 3, simply better with Premiere in giving me more choices for sequence settings and previews? Does one manufacturer have an edge over another in this regard?”
I will say that the AJA products do have an edge in this area. They can handle a lot more automatic conversion of one format to another for playback and most often, you don’t even notice it. The BMDs do require a little more regimented settings to ensure everything inside the app and the Control Panel matches.
There’s a setting that is available with AJA cards that forces the card to match the Premier Pro Sequence Setting no matter what the card is set up for. That’s a handy setting.
We run both Kona card inside our towers (PC and Mac) and the IoXT / TTap with the iMacs.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Erik Lundberg] “Our mastering format has been ProRes 422(HQ) for a rather long time now, and we’d really stick to it if we could. The export from Pr CC has proved to be a lottery at best though.”
We’ve been mastering our shows and projects to ProRes almost two years now. Only had an issue last year with a weird red frame appearing which was fixed within the month by Adobe. We don’t bother with HQ, never did with FCP either, just ProRes.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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I have no idea how to output ProRes from Windows. It’s an Apple codec. You can download the Avid DNxHD codec for free from Avid.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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If you’re on a Mac and don’t have any Apple editing or mographs software installed, you’ll need to buy Apple Motion for $50 in the App Store to get access to the ProRes codec. At least that’s how it’s been for the past year or so, not sure if anything has changed.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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You’re maintaining the promise of the Creative Cloud. And you’re taking care of all the little things that really matter to the editors in the field.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Just bring in all the folders individually to Premiere Pro and it will create a Bin for each folder.
If you want them all to remain in a single folder, move all the Bins into the Main Bin.
Personally, I prefer importing each folder individually as they remain individual bins, that makes for easier workflow for me.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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I’m still waiting to get my hands on the Visual Computing Appliance from nVidia. That is really the future of where this is all going. Low powered computers in the edit suites, massive GPU power in the background.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[David Nguyen] “So i was wondering if anyone had some advice for an editor switching from FCP7 to Premiere or if theres anyone who also has some advice for an editor switching from a Mac to a PC. I would appreciate any help.”
First off, Premiere Pro is NOT FCP (or Avid or vice versa). That’s IMPORTANT to understand because there will be things you hate about PPro and things you love. But one is not the other. I went from 11 years on FCP to PPro about 2 years ago now and at first it was incredibly annoying, but now I could never go back. If you keep comparing PPro to whatever you used to use, you’ll drive yourself crazy.
Second: change the Keyboard Shortcuts to Final Cut Pro so you can continue to use your old muscle memory from FCP. Makes the transition much easier, especially for your first project. 2 years later I’m still doing that because I think FCP’s keyboard shortcuts make a lot more sense than Adobe’s arrangement.
Third: pick up “An Editor’s Guide to Adobe Premiere Pro” from Richard Harrington. Great book with good basic information for Editors to get into Adobe Premiere Pro. We’re starting up a lot of tutorials on WalterBiscardi.com for switchers and others getting into the tool, but right now, Richard’s book is the best way to introduce yourself to the interface.
In particular, read the section on media management for your project. Unlike FCP, PPro relies on the Editor to manage all the media. You need your media to be in the right place on your media array BEFORE you bring it into your project. I actually just created a new tutorial on this on WalterBiscardi.com after multiple requests from Members. https://walterbiscardi.com/portfolio-item/starting-a-new-project-in-adobe-premiere-pro/
For Mac to PC, all you need to know is the CNTL button takes the place of the Apple CMD button. Other than that, once you’re in the app, they both work the same. We run a Dell alongside all our Macs in the shop and as far as editing, they both work the same although the PC tends to render faster and run a bit faster.
With PPro CC it’s a much easier switch from FCP 7 than it was with CS6. Adobe made a LOT of changes to the interface and operation based on a ton of input from former FCP editors.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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When shooting in RAW or “Film Style” flat you really need to go into color grading to make the footage look as you want it to look. That RAW look gives you complete control over the final look of any scene.
Start with the basic balance using the 3 Way Color Grading tool in PP and if you want to add more control add Colorista or Magic Bullet Looks from Red Giant.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Make you sure you are entering Feature Requests for what you’re asking for. Adobe has been listening to the myriad of requests as is evidenced by the CC release last year and the updates since then. I know I’ve heard others asking for the same features.
just keep submitting the requests and if they hear it enough, and it’s technically possible, we’ll see it in due time.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals