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I can edit native DSLR files just fine, there's no reason to convert to an intermediate format unless I need to do multiple generations of renders for effects. And I do THAT very rarely since Dynamic Link generally works for me with AE comps. Resolve 9 can get me near-realtime speeds with native DSLR footage on my Radeon 6970M, I'm sure that a GTX670 will easily outperform that with CUDA support. My workflow is basically edit native DSLR in Premiere, Dynamic Link AE comps in timeline, XML out to Resolve to grade, Pro Res export back to Premiere, output to whatever format for delivery. 1st AD fucked around with this message at 18:16 on Jun 8, 2013 |
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Jun 8, 2013 18:13
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OTOH, you have to spend all that time transcoding your footage to ProRes at the start. Depending on how much footage you have and how long the deliverables are, you probably will save a bunch of time just editing natively and taking a bit of a hit in rendering from the DSLR footage.
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Jun 8, 2013 23:48
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I've had a weird problem exporting to ProRes in Resolve - random frames will be rendered with posterization and a seemingly reduced color palette. The DNG's don't have these issues and I don't see them in Resolve during playback. This is rendering with a custom LUT with a Macbook Pro - the first-generation Thunderbolt model. Any ideas?
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Aug 10, 2013 02:58
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I'm rendering to a G-RAID Thunderbolt drive array, so just a pair of 7200 rpm SATA drives.
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Aug 10, 2013 06:50
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It's different - I switched to an SSD and did a test render of everything in ProRes Proxy and other than render issues related to the bitrate constraints, it looks a LOT better. edit: You guys can say what you will about the "shittiness" of FCPX, but I'm currently on a job where the director wants multiple options available for specific cuts and I don't know how I'd do that if I weren't editing in FCPX or Vegas. Auditions is saving me from having to stack a bunch of clips on separate layers or creating multiple sequences. 1st AD fucked around with this message at 21:48 on Aug 12, 2013 |
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Aug 12, 2013 18:10
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You want to know what's the worst post-workflow ever? Having to prep DNG's for a Lightroom grade (yeah, the photo editor), wait 5 billion hours for somebody to finish doing that grade, export tiffs from there, export those into an image sequence and then match it back up to your cuts 
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Aug 17, 2013 16:46
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The DP (who is mainly a photographer).
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Aug 17, 2013 16:52
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 aaaaand we went back to grading in Resolve because Lightroom hosed up the skin tones.I can see why people drink a lot in this industry.
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Aug 18, 2013 05:44
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We ran out of time and ended up pulling double duty in Resolve. No major grading, just some black level adjustment and some qualifiers on the skin tones. I ran Neat Video over the final rendered ProRes, which worked really well to my surprise - it didn't kill detail in any of the AE work or any shots which didn't require NR. https://www.youtube.com/watch?v=h2CFgzqPzvM
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Aug 20, 2013 07:38
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BeavisNuke posted:Footage looks good either way 1st AD. Did you light the interiors? Just the one with the dad and kids - simple setup too, just blasted 3 LED lights towards the wall that's off screen/camera left and put a gigantic scrim in front of that mess, used another scrim to bounce some of that light towards camera right). The rest was all done with whatever light conditions were present at the time of shooting, generally just after sunrise or just after sunset.
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Aug 23, 2013 21:04
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Actually I forgot, the office interior also had a touch of lighting as well, single LED bounced into a scrim for a key. We used these: http://www.samys.com/p/Lighting---LED-Lights--Kits/FLXK301/301-LED-Light-Kit-3-P360s/119324.html
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Aug 23, 2013 21:35
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Shouldn't that kind of stuff be done by a DIT nowadays?
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Aug 24, 2013 01:27
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WolfenFilms posted:Pretty much this. You've spent hundreds if not thousands of hours with Final Cut Slow (as I call it) and now stuff is just gone without a real workaround. I'd jump ship too. FCPX as an editing interface is really a lot better than Premiere, and roundtripping with Resolve works a hell of a lot better too. There are some things that I wish could be updated (mainly the built-in audio tools), but if you actually bother to learn the interface it is far faster and efficient to edit in FCPX than Premiere CC. Logging clips is a lot better too since you don't have to jump into another app. I would really not have been able to cut my most recent spot without FCPX, because both the director and client were asking for many different scenes and angle options for particular cuts and I can't imagine how I would have done this without FCPX's audition or the magnetic timeline; moving clips around was easy because you move the parent clip and anything attached also moves with it, so you don't have to line up any attached dialogue or sound effects after a major re-edit. At one point I think I had about 10 different angle and scene options for almost every cut in the program and was being asked to swap things out on the fly. A few years ago I probably would've shot myself, but nowadays it's a breeze and I kind of just pressed some buttons and said "what's next bitch?"  I don't want to downplay any complaints about the changes, because a lot of workflows really did get broken and I'd probably be very angry at Apple for throwing the baby out with the bathwater. But for the kind of projects I work on and the way I edit, I couldn't imagine doing my job as quickly or efficiently as I am able to now. Now that there's an actual good RED raw workflow, I can't imagine using Premiere for anything unless I have to for workflow reasons.
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Aug 25, 2013 05:10
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Yes, but unfortunately the hotkeys are generally all completely different so you'll have to relearn everything. The good news is, I think I prefer the new hotkeys because they're in easier to reach spots. W for insert, Q to lay down a connected clip, option-W to insert a gap. edit: You can also remap everything or map other functions that don't have existing hotkeys. 1st AD fucked around with this message at 06:33 on Sep 1, 2013 |
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Sep 1, 2013 06:31
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Moon Potato posted:Just a heads up - the latest update to Premiere CS6 can do this to your existing projects:  Don't update while you're in the middle of projects
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Sep 4, 2013 19:42
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Can't be worse than Final Cut 2 inexplicably quitting and forcing a reboot on OS9 systems because it ran out of memory, giving you no warning or prompting beforehand which meant if you weren't diligent about saving every minute you'd be screwed 
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Sep 4, 2013 21:52
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I just checked and it definitely saves stabilizer data for me. What version AE, and what OS/hardware are you running?
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Sep 6, 2013 09:43
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I have a similar size cache, but I'm also running with 32gb of ram. 2011 i7 iMac, 10.8.4 How long are these clips you're trying to stabilize?
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Sep 6, 2013 10:51
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Jesus christ I don't know if there's a way to do that quickly unless you have a 12 core Mac Pro or something. That's...a lot of video.
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Oct 3, 2013 19:18
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Isn't there a way to get FRAPS to record intervals? That would be easier and would save you hard drive space, just get it to do one frame every minute or something.
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Oct 3, 2013 19:27
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I don't think you understand what I'm telling you. If you can get it to record only one frame every minute, over 23 hours you would have a video that is 1380 frames long. Then you wouldn't have to process the timelapse at all and you would save on space AND transcode time.
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Oct 3, 2013 19:31
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The real issue here is that uba is trying to pull a timelapse out of a 23 hour long clip, even at standard def that poo poo would take forever to convert. I would look into Yip's suggestion and try doing an interval recording with that or other similar software.
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Oct 4, 2013 19:50
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Again, uba is dealing with a 23 hour file that he or she is trying to compress into a timelapse that I'm assuming will run a couple minutes or something. Some amount of transcoding will be required unless there's a way to mass delete frames selectively at regular intervals (not likely with a long-GOP format).
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Oct 4, 2013 21:24
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Iirc you can import image sequences into Premiere or AE and export to whatever video format you desire.
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Oct 9, 2013 21:39
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I would just export at native resolution with the Animation codec.
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Oct 10, 2013 05:48
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I've been using the wireless Logitech trackball, I've found it's a lot easier to edit with than a regular mouse or trackpad-type surface. http://store.apple.com/us/product/H6714VC/A?afid=p219%7CGOUS&cid=AOS-US-KWG-PLA
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Oct 26, 2013 01:07
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I recently cut a spot with about ~400gb of ProRes using a Thunderbolt SSD as a scratch drive and I can't say that render times improved (the biggest bottleneck was probably CPU), but actual editing was faster because I didn't have to wait a split second for the drive to spin up from idle or seek parts of other clips while scrubbing through video (using FCPX here). If you're looking for speed you'll probably want to do something like a hardware RAID and a bunch of 10,000 RPM HDD's. I don't think SSD's offer that much value in a production environment yet, mainly due to cost and increased rate of failure.
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Oct 29, 2013 18:56
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BeavisNuke posted:Thanks for the tip. Mavericks also breaks DaVinci Resolve. Uninstalling / reinstalling seemed to fix it though. I'm not installing Mavericks on my main work computer until December, so hopefully all these little issues sort themselves out.
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Oct 31, 2013 19:04
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Make subclips by favoriting sections of clips, then filter the event browser with favorited clips only. If you want to get real technical you can use both favorites AND rejected markers to separate out clip types.
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Nov 12, 2013 03:15
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Why does the name matter? View your list in thumbnail view and as long as your subclips are sufficiently short you should be able to tell what you're working with at a glance. If it bugs you that much, use keywords in combination with favorites or rejected clips.
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Nov 12, 2013 03:40
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It depends on what you're editing, I slapped a SSD into my 2009 Macbook Pro and editing is a lot snappier now. I still really can't throw any effects onto the DSLR footage, but just straight cuts work just fine. One important note - despite Premiere, FCPX, etc. being able to handle native H.264 footage, you end up paying the render tax eventually. Renders on ProRes material are way faster than native DSLR footage.
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Nov 12, 2013 20:04
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Need some quick Premiere help, and I couldn't seem to find a solution via Google: is there an easy way to swap graphics in Premiere's title maker? I have a bunch of separate graphics that need to go with individual videos, but unlike the regular Premiere timeline there doesn't seem to be a way to easily replace assets. I'm trying to swap the city winner graphic here:
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Dec 4, 2013 11:35
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Yup, that worked. Thanks!
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Dec 4, 2013 19:47
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Maybe he Edit RED files. Doubt it, but you never know.
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Dec 5, 2013 09:14
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I've graded lots of stuff shot at 3k or 4k using an iMac. It's not ideal but it's not completely undoable either. I could never manage it for any kind of show or film, but for commercial spots it's perfectly doable. Hell, REDCINE-X doesn't run Epic footage half bad at...half resolution 
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Dec 6, 2013 20:20
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Holy crap did they raise the price? Iirc it used to be $100 for the full version.
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Dec 19, 2013 05:11
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Honestly I don't even use it half the time because it's pretty easy to sync sound already, doubly so if you've got a clapper or something else to sync sound.
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Dec 19, 2013 10:50
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They don't record timecode at all, every clip starts at 0. FCP7 had a plugin that would set the timecode according to the date created in Log and Transfer for Canon DSLR's, but Premiere and FCPX have no such provisions.
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Dec 19, 2013 11:00
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Non-technical question here - what should I ask for when applying for a full time corporate video gig? It's hard to find data out there since there's so may different variables, but we're talking a smallish company that's looking to set up technical/training videos behind a paywall for IT professionals.
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Dec 31, 2013 02:16
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Those renders look fantastic and you did a great job compositing them into the video. Is all the video just stock or did you shoot that? I feel like the piece drags a little, but I also have a touch of ADD so others might feel differently. I'd personally edit it down quite a bit. Also the robotic voice would be better if it was more affected somehow, it sounds like you just doubled up on the audio. Or maybe a different voice actor would make a difference there.
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Dec 31, 2013 05:22
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