Walter Biscardi
Forum Replies Created
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Todd, if you work with XDCAM material, be sure to get the Calibrated software codecs. Our Dell Windows box won’t read the XDCAM quicktimes natively. Yes, we get footage that’s been converted from raw XDCAM to Quicktime and the PC won’t read it natively.
We’ve also had issues when folks send us AVC-Intra Quicktime. Again, Calibrated has the solution.
Otherwise, the PC has been a wonderful machine. I recently wrote a review for the Cow on the ProMAX HERO One machine. A beast of a 16 core machine that I really hated to send back to the company.
I’m glad we’re in a situation where we can work PC and Mac side by side. Seems to be the best solution for us as the Macs definitely work better with QTs than the PC so we can just move the projects around to the machine that does the job best.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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We always use the AVC-Intra presets so we’re always working in Square Pixels. So for 720p we’d use the AVC-Intra 100 720/60 preset.
That’s what we use for our base Sequence Presets for everything we do.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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In FCP you were always working in Quicktime, but in Premiere Pro you might be working in any number of endless codecs and native formats. So simply “Export as Sequence” may not be practical.
Premiere Pro simply offers an endless array of choices when exporting media. It can be overwhelming at first, but once you get used to the export process, it’s quite handy. What I suggest is to start saving presets as you go.
For example, we have presets in all of our edit suites for 720p/ProRes, 1080i/ProRes, Vimeo 720p, Client Review 640, etc…… So when I export, I go Quicktime and then select the preset I want.
As for render time, for whatever reason, Adobe Media Encoder tends to render faster using the “Queue” command instead of “Export” when you have your preset all ready. We use that, quit PPro and then start the AME encoding. Tends to go faster.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Print to Tape is THE weak link in Premiere Pro. I would suggest contacting Adobe Tech Support to ensure that everything is set up correctly on your system.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Jason Sacharoff] ” It was so much easier in FCP.”
In many ways Premiere Pro is easier than FCP once you figure out how it works. In other ways you want to just want to strangle your computer.
Cannot recommend “An Editor’s Guide to Adobe Premiere Pro” by Richard Harrington, Robbie Carmen and Jeff Greenberg. It’s a godsend for any editor moving to that app from another one. I was on FCP for 11 years and this book was a huge help getting us up to speed quickly at our shop.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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There is no straightforward workflow for this one, sorry. It’s a royal PITA if you really want to keep all the clips separated.
We cut long form documentaries and episodics in our shop. We flatten everything from Premiere Pro into a ProRes file.
I send that into Resolve and use the Scene Cut Detect to break up the show for color grading.
I’ve gotten to the point where I can prep a 30 minute show in about 10 minutes.
Dissolves are easily handled with Dynamic Marks in Resolve.
A “Transcode / Consolidate” is the Number One Feature Request for the next version of Adobe Premiere Pro from me. They already have Project Manager, all they need to do is add the Transcode / Consolidate function to that and it’s done.
In the meantime, just flatten and go. MUCH faster. If you need more handles on a few shots, you can just send those back through Resolve separately, pull the original grades from the the Gallery. It’s quick and easy.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Nothing automatically makes two different clips look similar without input from the user.
All color correction tools allow you to save presets and looks. So you can color correct one of the clips and then apply that preset / look to all of the similar clips in your timeline. Repeat for each type of clip.
I’ve done this a lot in Apple Color and Davinci Resolve. Can grade entire sections of a show in just minutes this way.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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but with the added responsibility of doing the multimedia for an additional 3 dealerships, should I be asking for a raise? I’m salary.
No. Just because the dealership is expanding doesn’t entitle you to a raise. Add to that those new dealerships will most likely be operating at a loss for at least a year, there’s definitely no additional money to pay your salary.
My guess going in to ask for a raise at the time they are buying new dealerships raises the “headache” flag to management. As in “this guy is going to be a headache every time we expand, time to let him go and look for someone else.”
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Looks interesting. I just passed them along to several shooter friends to see what they think.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Not sure why AJA would want to get into the business of managing their own forums when the Cow does such a great job. The AJA management and tech support teams are very active here.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.