Walter Biscardi
Forum Replies Created
-
If you’re in 1080p you should just be able to scale those shots in within PPro without too much issue, just drop them into your timeline and scale up. Just depends on what the shots are. For instances where we can’t get a clean up convert within the software we use our Terranex, but that’s rare with 720p to 1080p.
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
-
Angie Taylor posted a nice video on the install process too. Not quite sure why Adobe did that this 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
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
[Adam Kawecki] “But, we have the same problem with each release – I still can’t find a way to synchronize tons of clips from multiple cameras using timecode. “
In the multi-cam function you have the option to use TimeCode as your sync.
[Adam Kawecki] “The current feature for synchronizing in Premiere is creating multicamera source sequences for each shot. But it is only worth it if you have long shots of entire scenes, when shooting a movie maybe. Each selected clip in the project panel is treated as a new camera. It would actually be great if you could select two bins instead (cam1, cam2) and insert them on tracks 1 and 2 using timecode, and creating multiple multicamera source sequences at once.”
We shoot reality type stuff with cameras stopping and starting all day and Premiere Pro puts all these clips into a single timeline. You don’t select each clip, you select all the clips for your particular segment you want to put together and off you go.
Place all the clips, including audio, you want to sync in ONE bin. They all have to be in the same bin.
Select them all, and run the Multi-Cam feature. In your case, choose timecode, but this also assumes the audio is timecode as well. We never use timecode, we use Audio for our sync since we always use a slate at the beginning of the first camera roll. we don’t always use a slate once things start happening.
Then sync. You will end up with a few multi-cam sequences most likely, but from that point, you can open them up as a Timeline and simply copy and paste the elements you’d prefer to have in one timeline.
We’ve been using this for some new lifestyle programming, (cooking, travel) with 4 primary cameras and 2 or more GoPros. Sync is so freakin’ good. 20 hours of material across 6 cameras or so. Sync’d in about 5 – 10 minutes and away we go. And that’s all UHD 4k material.
All audio is recorded via an H6 Zoom and we don’t use any sort of jammed timecode. Sync is amazingly good in CC.
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
-
[Greg Ball] “I also know that one of my DPs only drinks a specific brand of soda. So I always have some on hand for him. We also provide bottled water for crew, clients, and talent.”
Actually that’s a VERY good point. We always check with all our crew, talent and even our clients to find out if anyone has an special dietary requests / requirements. Vegetarians, diabetics, Gluten-Free, etc… it’s very very easy to provide for these so you want to make sure you have something that’s easily accessible for everyone.
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
-
We always provide breakfast which is usually just bagels, some fruit and coffee to keep it light and simple. Crews always work better if they at least have a little something.
Lunch is anywhere from 30 minutes to one hour depending on how long we’re shooting. If it’s less than 6 hours, it’s a 30 minute lunch. If it’s a standard 10 hour shoot day, we’ll break for an hour.
I never do dinner unless we are going past 10 hours.
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
-
It works.
It’s efficient
It keeps improving based on feedback from actual creatives in the field.
We deliver broadcast episodics and documentaries, corporate training and marketing, original programming to the web and more. 11 years on FCP and we switched to PPro 3 years ago.
Biggest change to our workflow in making the switch was to stop transcoding everything before we edit. We’re editing everything natively, though we are looking at a proxy workflow for 4k offline and then switch over to the full res 4k for finish. Been cutting a lot of UHD lately for our own original projects and it seems the proxy workflow is going to work better than trying to cut UHD natively all the way through on all our systems.
Biggest thing to understand, your systems MUST be set up correctly for Premiere Pro. Biggest complaint I hear is “well my machine runs with XYZ software so why doesn’t Premiere work?” Because Premiere requires specific configurations to work efficiently and optimally. It’ll work on most any machine, but if you are editing and delivering professional projects, you have to make sure the configuration is optimal for Premiere Pro, not XYZ software.
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
-
CC is the only option for moving forward.
However you can download a full 30 day trial of the entire creative cloud to test out any and all software to your heart’s content.
https://creative.adobe.com/products/creative-cloud
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
-
[David Roth Weiss] “Exactly, so why did you make it the centerpiece of the discussion?”
I don’t know, maybe because if the system at the hotel can’t play back ProRes or can’t handle the data rate then it’s a bad idea. Honestly I’ve never used ProRes for any hotel playback. Only for a major event such as a Dome or Stadium show when I have complete control of the playback.
We put on events for the Atlanta Cutters, going on three years now. Have never used ProRes for playback via our projector or any other projector in all those years.
Now I’m done with this discussion. You have a fantastic day.
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
-
There’s no real rule on that order. SD footage is going to have a lot of noise in it, that’s just the nature of what it is and depending on the format of the SD, you’ll have more or less noise.
My suggestion would be to grade it first. If you start crushing the blacks down a bit, you’ll probably knock out some noise naturally. Consequently, if you raise the whites and mids, you’ll add more noise. So if it were me, I’d grade everything first and then probably throw a single de-noise over the entire timeline.
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
-
[David Roth Weiss] “When did I ever suggest using a machine incapable of playback? Disagreeing with me is one thing, but to make a silly assumption, simply because it appears to support your contention, is just a bad argument. “
When was the system making playback ever posted? It wasn’t. Hence my note that you have to have a system capable of playback. If you want to be a smart-ass and beat your chest on that, be my guest.
On H264 for editing, we haven’t transcoded H264 or any codec in almost three years now since switching over to Premiere Pro. No reason to, even with our older machines and iMacs. But again, now we’re off topic.
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