Spring Tools

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It’s often the little things that improve your editing workflow. Here are a few quick items that can expand your editing arsenal.

Hawaiki Super Dissolve

df1416_tools_3The classical approach to editing transitions suggests that all you need is a cut and a dissolve. Given how often most editors use a dissolve transition, it’s amazing that few NLE developers spend any time creating more than a basic video dissolve, fade or dip. After all, even the original Media Composer came with both a video and a film-style dissolve. Audio mixers are used to several different types of crossfades.

Since this is such a neglected area, the development team behind the Hawaiki plug-ins decided to create Super Dissolve – a dissolve transition plug-in for Final Cut Pro X with many more options. This installs through the FxFactory application. It shows up in the FCPX transitions palette as a dissolve effect, plus a set of presets for fades, dips and custom curves. A dissolve is nothing more than a blend between two images, so Super Dissolve exposes the same types of under-the-hood controls as After Effects and Photoshop artists are used to with compositing modes.

Drop the Super Dissolve in as a transition and you have control over blending modes, layer order, easing controls with timing, and the blurring of the outgoing and/or incoming image. Since you have control over the outgoing and incoming clips separately, different values can be applied to either side, thus enabling an asymmetrical effect. For example, a quick fade with a blur off the outgoing clip, while bringing the incoming side up more slowly. As with the default FCPX dissolve, there’s also an audio crossfade adjustment, since FCPX transitions can effect both audio and video when these elements are combined. If you really like the ability to finesse your transitions, then Super Dissolve hits the spot.

XEffects Audio Fades

df1416_tools_6Free is good, so check out Idustrial Revolution’s free effects. Although they are primarily a video effects developer for Motion and Final Cut Pro X, they recently added a set of audio fade presets for FCPX. Download and install the free pack and you’ll find the XEffects Fades group in the audio plug-ins section of your effects palette.

XEffects Fades includes a set of preset fade handles, which are applied to the audio on your timeline clips. Drag-and-drop the preset with the fade length closest to what you want and it automatically adjusts the fade handle length at both ends of that audio clip. If you want to tweak the length, apply the effect first and then adjust the length puck on the clip as needed. Existing lengths will be overwritten when you drop the effect onto the clip, so make sure you make these adjustments last.

AudioDenoise and EchoRemover

df1416_tools_5CrumplePop is another developer known for its video effects; but they, too have decided to add audio effects to their repertoire. AudioDenoise and EchoRemover are two Final Cut Pro X plug-ins sold through the FxFactory application. These two effects are easy-to-use Apple Audio Units filters designed to improve poorly recorded location audio. As with Apple’s own built-in controls, each filter includes a few sliders to adjust strength and how the effect is applied. When applying any audio “clean up” filter, a little goes a long way. If you use it to its extreme range, the result sounds like you are underwater. Nevertheless, these two filters do a very nice job with poor audio, without presenting the cost and complexity of other well-known audio products.

Alex4D Animated Transitions

df1416_tools_1For a little bit of spice in your Final Cut Pro X timelines, it’s worth checking out the Alex4D Animated Transitions from FxFactory. Alex Gollner has been a prolific developer of free Final Cut Pro plug-ins, but this is his first commercial effort. Animated Transitions are a set of 120 customizable transition effects to slide, grow, split and peel incoming or outgoing clips and lower third titles. Traditionally you’d have to build these effects yourself using DVE moves. But by dropping one of these effects onto a cut point between two clips, you quickly apply a dynamic effect with all the work already done. Simply pick the transition you like, tweak the parameters and it’s done.

Post Notes

df1416_tools_4One of the best features of Adobe applications is Extensions. This is a development “hook” within Premiere Pro or After Effects that allows developers to create task-oriented panels, tools and controls that effectively “bolt” right into the Adobe interface. One example for After Effects would be TypeMonkey (and the other “Monkeys”), which are kinetic effect macros. For Premiere there’s PDFviewer, which enables you to view your script (or any other document) in PDF format right inside the Premiere user interface.

A new extension for Premiere Pro CC is Post Notes. Once installed, it’s an interface panel within Premiere Pro that functions as a combined notepad and to-do list. These are tied to a specific sequence, so you can have a set of notes and to-dos for each sequence in your project. When a to-do item is completed, check it off to indicate that it’s been addressed. This tool is so straightforward and simple, you’ll wonder why every editing software doesn’t already have something like this built-in.

Hedge for Mac

df1416_tools_2With digital media as a way of life for most editors, we have to deal with more and more camera media. Quickly copying camera cards is a necessary evil and making sure you do this without corruption is essential. The Mac Finder really is NOT the tool you should be using, yet everyone does it. There are a number of products on the market that copy to multiple locations with checksum verification. These are popular with DITs and “data wranglers” and include Pomfort Silverstack, Red Giant Offload, and even Adobe Prelude.

A newcomer is Hedge for Mac. This is a simple, single-purpose utility designed to quickly copy files and verify the copies. There’s a free and a paid version. If you just want to copy to one or two destinations at a time, the free version will do. If you need even more destinations as a simultaneous copy, then go for the paid version. Hedge will also launch your custom AppleScripts to sort, transcode, rename or perform other functions. Transfers are fast in the testing I’ve done, so this is a must-have tool for any editors.

©2016 Oliver Peters

Deadpool

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Adobe has been on a roll getting filmmakers to adopt its Premiere Pro CC editing software for feature film post. Hot on the heels of its success at Sundance, where a significant number of the indie films we’re edited using Premiere Pro, February saw the release of two major Hollywood films that were cut using Premiere Pro – the Coen Brothers’ Hail, Caesar! and Tim Miller’s Deadpool.

Deadpool is one of Marvel Comics’ more unconventional superheroes. Deadpool, the film, is the origin story of how Wade Wilson (Ryan Reynolds) becomes Deadpool. He’s a mercenary soldier that gains accelerated healing powers through a rogue experiment. Left disfigured, but with new powers, he sets off to rescue his girlfriend (Morena Baccarin) and find the person responsible. Throughout all of this, the film is peppered with Deadpool’s wise-cracking and breaking the fourth wall by addressing the audience.

This is the first feature film for director Tim Miller, but he’s certainly not new to the process. Miller and his company Blur Studios are known for their visual effects work on commercials, shorts, and features, including Scott Pilgrim vs. the World and Thor: The Dark World. Setting out to bring as much of the post in-house, Miller consulted with his friend, director David Fincher, who recommended the Adobe Creative Cloud solution, based on Fincher’s experience during Gone Girl. Several editing bays were established within Blur’s facility – using new, tricked out Mac Pros connected to an Open Drives Velocity SSD 180TB shared storage solution.

Plugging new software into a large VFX film pipeline

df1016_deadpool_6Julian Clarke (Chappie, Elysium, District 9) came on board to edit the film. He explains, “I talked with Tim and was interested in the whole pioneering aspect of it. The set-up costs to make these permanent edit suites for his studio are attractive. I learned editing using [Apple] Final Cut Pro at version one and then I switched to Avid about four years later and have cut with it since. If you can learn [Avid] Media Composer, then [Adobe] Premiere Pro is fine. I was up to about 80% of my normal speed after just two days.”

To ease any growing pains of using a new editing tool on such a complex film, Miller and Adobe also brought in feature film editor Vashi Nedomansky (That Which I Love Destroys Me, Sharknado 2: The Second One, An American Carol) as a workflow consultant. Nedomansky’s job was to help establish a workflow pipeline and to get the editorial team up to speed with Premiere Pro. He had performed a similar role on Gone Girl. He says, “I’ve cut nine features and the last four have been using Premiere Pro. Adobe has called on me for that editor-to-editor interface and to help Blur set up five edit bays. I translated what we figured out with Gone Girl, but adapted it to Blur’s needs, as well as taking into consideration the updates made to the software since then. During the first few weeks of shooting, I worked with Julian and the assistant editors to customize their window layouts and keyboard shortcuts, since prior to this, the whole crew had primarily been using Avid.”

Deadpool was shot mostly with ARRI ALEXA cameras recording open gate 2.8K ARRIRAW. Additional footage also came from Phantom and RED cameras. Most scenes were recorded with two cameras. The original camera files were transcoded to 2K ProRes dailies in Vancouver. Back at Blur, first assistant editor Matt Carson would sync audio and group the clips into Premiere Pro multicam sequences.

Staying up with production

df1016_deadpool_2As with most features, Clarke was cutting while the production was going on. However, unlike many films, he was ready to show Miller edited scenes to review within 24 hours after the shoot had wrapped for the day. Not only a cut scene, but one already fleshed out with temporary sound effects and music. This is quite a feat, considering that Miller shot more than 500 hours of footage. Seeing a quick turnaround of edited scenes was very beneficial for Miller as a first-time feature director. Clarke adds, “My normal approach is to start cutting and see what works as a first draft. The assistant will add sound effects and temp music and if we hit a stumbling block, we move on to another scene. Blur had also created a lot of pre-vis shots for the effects scenes prior to the start of principal photography. I was able to cut these in as temp VFX. This way the scenes could play through without a lot of holes.”

df1016_deadpool_3To make their collaborative workflow function, Nedomansky, Clarke, and the assistants worked out a structure for organizing files and Premiere Pro projects. Deadpool was broken into six reels, based on the approximate page count in the script where a reel break should occur. Every editor had their own folder on the Open Drives SAN containing only the most recent version of whatever project that they were working on. If Julian Clarke was done working on Reel 1, then that project file could be closed and moved from Clarke’s folder into the folder of one of the assistants. They would then open the project to add temporary sound effects or create some temporary visual effects. Meanwhile, Clarke would continue on Reel 2, which was located in his folder. By keeping only the active project file in the various folders and moving projects among editors’ folders, it would mimic the bin-locking method used in shared Avid workflows.

In addition, Premiere Pro’s Media Browser module would also enable the editors to access and import sequences found within other project files. This is a non-destructive process. Older versions of the project files would be stored in a separate folder on the SAN in order to keep the active folders and projects uncluttered. Premiere Pro’s ability to work with folders as they were created in the Finder, let the editors do more of the organization at the Finder level than they normally would, had they been cutting with Avid systems.

Cutting an action film

df1016_deadpool_4Regardless of the software you use, each film presents a unique set of creative challenges. Clarke explains, “One scene that took a while was a long dialogue scene with Deadpool and Colossus on the highway. It’s quintessential Deadpool with a lot of banter and improv from Ryan. There’s not much story going on in the background at that time. We didn’t want to cut too much out, but at the same time we didn’t want to have the audience get lost in what’s supposed to be the bigger story. It took some time to strike the right balance. Overall the film was just about right. The director’s cut was about two hours, which was cut into the final length of one hour and 45 minutes. That’s just about the right amount to cut out, because you don’t end up loosing so much of the heart of the film.”

Many editors have a particular way they like their assistants to organize bins and projects. Clarke offers, “I tend to work in the frame view and organize my set-ups by masters, close-ups, and so on. Where I may be a little different than other editors is how I have my assistants organize action scenes. I’ll have them break down the choreography move-by-move and build a sequence of selected shots in the order of these moves. So for example, all the angles of the first punch, followed by all the angles of the next move – a punch, or block, or kick. Action scenes are often shot with so much coverage, that this lets me quickly zero in on the best stuff. It eliminates the scavenger hunt to find just the right angle on a move.”

df1016_deadpool_8The script was written to work in a nonlinear order. Clarke explains how that played out through the edit, “We stood by this intention in the editing. We found, in fact, that the film just didn’t work linearly at all. The tone of the two [scripted] timelines are quite different, with the more serious undertones of the origin story and the broad humor of the Deadpool timeline. When played sequentially, it was like oil and water – two totally different movies. By interweaving the timelines, the tone of the movie felt more coherent with the added bonus of being able to front load action into the movie to excite the audience, before getting into the heavier cancer part of the story.”

One editing option that might come to mind is that a character in a mask offers an interesting opportunity to change dialogue without difficult sync issues. However it wasn’t the sort of crutch some might assume. Clarke says, “Yes, the mask provided a lot of opportunity for ADR. Though this was used more for tweaking dialogue for plot clarity or to try out alternate jokes, than a wholesale replacement of the production track. If we liked the production performance we generally kept it, and embraced the fact that the mask Ryan was wearing would dull the audio a bit. I try to use as little ADR as possible, when it comes to it being used for technical reasons, rather than creative ones. I feel like there’s a magic that happens on set that is often hard to replicate in the ADR booth.”

Pushing the envelope

df1016_deadpool_7The editing systems proved to offer the performance needed to complete a film of this size and complexity. Vashi Nedomansky says, “There were 1400 effects shots handled by ten vendors. Thanks to the fact that Blur tricked out the bays, the editors could push 10 to 15 layers of 2K media at a time for temp effects – in real-time without rendering. When the film was locked, audio was exported as AAF for the sound facility along with an H.264 picture reference. Blur did many of the visual effects in-house. For final picture deliverables, we exported an XML from Premiere Pro, but also used the Change List tool from Intelligent Assistance. This was mainly to supply the list in a column format that would match Avid’s output to meet the studio’s requirements.”

df1016_deadpool_5I asked Clarke and Nedomansky what the team liked best about working with the Adobe solution. Nedomansky says, “I found that the editors really liked the tilde key [on the keyboard], which in Premiere Pro brings any window to fullscreen. When you have a timeline with 24 to 36 tracks of temp sound effects, it’s really nice to be able to make that fullscreen so that you can fine-tune them. They also liked what I call the ‘pancake timeline’. This is where you can stack two timelines over each other to compare or pull clips from one into the other. When you can work faster like this, there’s more time for creativity.” Clarke adds, “I used a lot of the time-remapping in After Effects. Premiere Pro’s sub-frame audio editing is really good for dialogue. When Avid and Apple were competing with Media Composer and Final Cut Pro it was very productive for both companies. So competition between Avid and Adobe is good, because Premiere Pro is very forward-thinking.”

Many NLE users may question how feature films apply to the work they do. Nedomansky explains, “When Kirk Baxter used Premiere Pro for Fincher’s Gone Girl, the team requested many features that they were used to from Final Cut Pro 7. About 200 of those suggestions have found their way as features into the current release that all Creative Cloud customers receive. Film editors will stress a system in ways that others won’t, and that information benefits all users. The important takeaway from the Deadpool experience is that after some initial adjustment, there were no showstoppers and no chaos. Deadpool is a monster film, but these are just tools. It’s the human in the chair making the decision. We all just want to work and not deal with technical issues. Whatever makes the computer invisible – that’s the power.”

Deadpool is certainly a fun rid, with a lot of inside jokes for veteran Marvel fans. Look for the Stan Lee cameo and be sure to stay all the way through the end credits!

Watch director Tim Miller discuss the choice to go with Adobe.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2016 Oliver Peters

Whiskey Tango Foxtrot

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As most readers know, “whiskey tango foxtrot” is the military way to communicate the letters WTF. Your imagination can fill in the rest. Whiskey Tango Foxtrot, the movie, is a dark comedy about the experiences of a female journalist in Afghanistan, based on Kim Barker’s memoir, The Taliban Shuffle: Strange Days in Afghanistan and Pakistan. Paramount Pictures tapped the writing/directing team of John Requa and Glenn Ficarra (Focus, Crazy, Stupid, Love., I Love You Phillip Morris) to tackle the film adaptation, starring Tina Fey, Margot Robbie, Martin Freeman, Billy Bob Thornton, and Alfred Molina.

df1116_wtf_2Glenn Ficarra explains the backstory, “When the military focus shifted from Afghanistan to Iraq there was a void in coverage. Barker was looking for a change in her life and volunteered to embed as a correspondent in Kabul. When she got there, she wasn’t quite ready for the high-adrenaline, partying lifestyle of many of the journalists. Most lived in dorms away from the general Afghan population. Since there weren’t that many females there, she found that there was a lot of interest in her.” This is the basis of both the book and the film – an Afghanistan story with a touch of Animal House and M*A*S*H.

Filming in Afghanistan would have been too dangerous, so production shifted to New Mexico, with Xavier Grobet (Focus, Enough Said, I Love You Phillip Morris) as the director of photography. The filmmakers also hired a female, Muslim journalist, Galereh Kiazand, as the second unit photographer to pick up B-roll in Kabul, which added to the authenticity. In addition, they also licensed stock shots originally filmed for The Kite Runner, but not used in that film. Ficarra adds, “We built two huge sets for Kabul and Kandahar, which were quite convincing, even to vets and Afghans who saw them.”

df1116_wtf_9With efficiencies realized during Focus, the team followed a similar course on this film. Ficarra explains, “We previously pulled the editing in-house. For Whiskey Tango Foxtrot we decided to do all the visual effects in-house, too. There are about 1,000 VFX shots in the film. It’s so great to simply bring on more artists as you need them and you only have to pay the crew. At its peak, we had about 20 Nuke artists working on shots. Doing it internally opens you up to more possibilities for minor effects that enhance shots. You would otherwise skip these if you were working with an outside effects house. We carried this approach into the filming as well. While traveling, it was great to quickly pick up a shot that you could use as B-roll. So our whole mentality has been very much like you work in film school.”

Adjusting the workflow for a new film

df1116_wtf_3The duo started production of Whiskey Tango Foxtrot on the heels of completing Focus. They brought along editor Jan Kovac, as well as use of Apple Final Cut Pro X for editing. This was the off-the-shelf version of Final Cut Pro X available to all customers at the time of the production – no special version or side build. Kovac explains what differed on this new film, “The biggest change was in camera formats. Instead of shooting [Apple] ProRes 4444, we switched to using the new ProRes 4444 XQ codec, which was deployed by ARRI on the ALEXAs. On Focus, we recorded ARRIRAW for the green screen shots. We did extensive testing with this XQ codec prior to production and it was perfect for even the green screen work. Most of the production was shot with two ALEXAs recording in a 2K theatrical format using the ProRes 4444 XQ codec.”

Light Iron provided a DIT on set who took the camera files, added a basic color LUT, synced production sound, and then generated viewing dailies, which were distributed to department heads on Apple iPads. The DIT also generated editorial files that were in the full 2K ProRes 4444 XQ resolution. Both the camera original files and the color-corrected editorial files were stored on a 160TB Accusys ExaSAN system back at the film’s post headquarters. Two Mac Minis served as metadata controllers. Kovac explains, “By always having the highest quality image to edit with, it meant that we could have the highest quality screenings at any given time. You always see the film in a state that is very close to the final product. Since visual effects were being handled in-house, it made sense to have the camera original files on the SAN. This way shots could quickly be pulled for VFX work, without the usual intermediate step of coordinating with the lab or post house that might otherwise store these files.”

df1116_wtf_6Another change was that audio was re-synced by the editing team. First assistant editor Kevin Bailey says, “The DIT would sync the production mix, but when it got here, I would sync up all the audio tracks using Sync-N-Link X. This syncs by timecode, making the process fast. I would group the cameras into multicam clips, but as many as 12 isolated audio tracks were also set up as separate angles. This way, Jan could easily switch between the production mix and individual mics. The only part that wasn’t as automatic was that the crew also used a Blackmagic Pocket Camera and a Sony A7 for some of the shots. The production was running at a true 24.0 fps frame rate, while these smaller cameras only shot 24 frames at a video rate of 23.98. These shots required adjustment and manual syncing. The reason for a true 24.0 frame rate was to make it easy to work with 48fps material. Sometimes the A-camera would run at 24fps while the B-camera ran at 48fps. Speeding up the B-camera by a 2X factor gets it into sync, without worrying about more complicated speed offsets.” In addition to these formats, the Afghanistan second unit footage was shot on a RED camera.

df1116_wtf_5Bailey is an experienced programmer who created the program Shot Notes X, which was used on this film. He continues, “Our script supervisor used Filemaker Pro, which exports a .csv file. Using Shot Notes X, I could combine the FCPXML from Final Cut with the .csv file and then generate a new FCPXML file. When imported back into Final Cut, the event would be updated to display scenes and takes, along with the script notes in the browser’s notes column. Common script codes would be used for close-ups, dolly shots, and so on. Filtering the list view by one of these codes in Final Cut would then display only the close-ups or only the dolly shots for easy access.” Bailey helped set up this pipeline during the first few weeks of production, at which point apprentice editor Esther Sokolow took over the dailies processing. Bailey shifted over to assist with sound and Sokolow later moved into a VFX editor role as one of several people doing temp VFX.

From trailer to home base

df1116_wtf_8During production in New Mexico, Kovac worked out of an editorial trailer equipped with a single Mac Pro and an 8TB G-Raid drive. There he was cutting using the proxy files that Final Cut Pro X can generate internally. During that 47-day period, Kovac was doing 90% of the editing. The amount of footage averaged about three hours and 40 minutes per day. In April, the unit moved back to home base in Los Angeles, where the team had two Mac Pro edit suites set up for the editors, as well as iMacs for the assistants.

John Requa and Glenn Ficarra are “hands-on” participants in the editing process. Kovac would cut in one room, while Ficarra and Requa would cut in the other. After the first preview, their collaboration slowly changed into a more traditional editor-director format. Even towards the end, Ficarra would still edit when he found time to do so. Post ended just before Christmas after a 35-week post schedule. Glenn Ficarra explains, “John and I have worked together for 30 years, so we are generally of one mind when we write, direct, or edit. Sometimes John would cut with me and I’d be the ‘fingers’ and other times he’d work with Jan. Or maybe I’d work with Jan and John would review and pick takes. So our process is very fluid.”

df1116_wtf_4The Whiskey Tango Foxtrot team worked deeper into temp sound and visual effects than before. Kovac explains, “Kevin is very comfortable with sound design during the edit. And he’s a good Nuke artist, too. While I was working on one reel, Kevin could work on a different reel adding in sound effects and creating monitor comps and screen replacements. A lot of this work was done inside of Final Cut using the SliceX and TrackX plug-ins from CoreMelt. We were able to work in a 5.1 surround project and did all of our temp mixes in 5.1.” The power of the plug-ins let more of the temp effects be done inside Final Cut  Pro X, resulting in a more efficient workflow with less need for roundtrips to other applications.

All media and render files were kept on the ExaSAN storage, but external of the Final Cut Pro X library files, thus keeping those small. The library files were stored on a separate NFS server (a Mac Mini using NFS Manager) with a separate FCPX library file for each reel of the film. This enabled the editors and assistants to all access any FCPX library file, as long as someone else wasn’t using it at that time. A shared iTunes library for temporary sound effects and music selections was stored on the SAN with all machines pointing to that location. From within Final Cut, any editor could browse the iTunes library for music and sound effects.

When it came time for sound and picture turnovers, X2Pro Audio Convert was used to pass audio to the sound design team as an AAF file. Light Iron’s Ian Vertovec handled final color correction on their Quantel Pablo Rio system. He was working off of camera original media, which Light Iron also stored at their facility after the production. Effects shots were sent over as DPX image sequences.

Thoughts on the cut

df1116_wtf_7The director’s cut for Whisky Tango Foxtrot ran about three hours, although the final length clocked in at 1:52:00 with credits. Kovac explains, “There were 167 scripted scenes in the original script, requiring a fair amount of trimming. Once you removed something it had consequences that rippled throughout. It took time to get it right. While it was a tougher film from that standpoint, it was easier, because no studio approval process was needed for the use of Final Cut Pro X. So it built upon the shoulders of Focus. Final Cut has proven itself as a valuable member of the NLE community. Naturally anything can be improved. For example, optical flow and auditions don’t work with multicam clips. Neither do the CoreMelt plug-ins.” Bailey adds, “For me the biggest selling point is the magnetic timeline. In areas where I would build up temp sound design, these would be the equivalent of ten tracks deep. It’s far easier to trim sections and have the audio follow along than in any other NLE.”

Glenn Ficarra wrapped up with these thoughts. He says, “A big step forward on this film was how we dealt with audio. We devised a method to keep as much as possible inside FCPX, for as long as possible – especially for screenings. This gave us more cutting time, which was nice. There was no need for any of the in-between turnovers I’ve gone through on other systems, just to prepare the movie for screenings. I like the robust third-party approach with Final Cut. It’s a small, tight-knit community. You can actually get in touch with a developer without going through a large corporation. I’d like to see Apple improve some features, like better match-back. I feel they’ve only scratched the surface with roles, so I’d like to see them develop that more.”

He concludes, “A lot of directors would like to cut for themselves, but find a tool like Avid impenetrable. It doesn’t have to be that way. My 12-year-old daughter is perfectly comfortable with Final Cut Pro X. Many of the current workflows stem from what was built up around film and we no longer work that way. Why adhere to the old film methods and rules? Filmmakers who are using new methods are those that aren’t satisfied with the status quo. They are willing to push the boundaries.”

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2016 Oliver Peters

More LUTs from IWLTBAP

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With more cameras shooting in some form of a log or flat color profile and more editing software being able to integrate color look-up tables (LUTs), numerous developers have designed their own LUT packages. Some, like Koji, strive to duplicate the colorimetry of certain film stocks, while others, such as SpeedLooks from LookLabs, create stylized “look” files that give you a range of creative color correction choices.

One new developer offering a package of easy to use LUTs is French filmmaker IWLTBAP. Through the website, you can pick up a comprehensive package of LUTs in the 32x32x32 .cube format, which are compatible with most modern editing and compositing software applications. If you edit in Adobe Premiere Pro CC, the Lumetri Color panel lets you browse and add any .cube LUTs you’ve saved on your hard drives. If you cut in Apple Final Cut Pro X, then the addition of a LUT plug-in, like Color Grading Central’s LUT Utility, enables you to add third-party LUTs to any clip on the timeline.df1316_iwltbap_4

I took these LUTs for a spin and like most LUT packages, they come in a groups. First you have Utility LUTs, which are designed to convert color spaces from log to Rec709 (the standard video color space) or in the opposite direction. These are organized by camera type, since not all manufacturers use the same logarithmic values. Then the color correction or “look” LUTs are grouped into Standard and Log versions.

The Standard LUTs are to be applied to images that are already in Rec709 color space, while the Log versions can be used as a one-step LUT to be applied to generic log images. For example, you could apply both a Log-to-Rec709 Utility LUT and a second LUT from the Standard group to achieve your result. Or simply apply the single Log version to that same clip and end up with similar results. The dual-LUT approach gives you more incremental control over the Log conversion based on camera models, whereas the single-step solution is designed for generic log images. However, both can yield the desired grade, depending on the clip. In addition to the paid LUT package, IWLTBAP offers two Bonus LUTs, which are available as a free download from the website.

df1316_iwltbap_2There are over 80 LUTs in each group and these are organized by color style and number. The numbers don’t really mean anything. In other words, they aren’t an attempt to mimic a film stock number. As you ascend in numbers, the next step is a more aggressive or somewhat different version of the previous. The key is the prefix and suffix for each. These LUT files carry a STD or LOG suffix so you know whether these are from the Log or Standard group. Then there’s a prefix: C for cold, H for hot, W for warm, F for film, and X for creative. Each style has several variations within that general look. For example, the LUT file labelled “F-9490-STD.cube” is a LUT with a filmic curve designed for a Rec709 image.

df1316_iwltbap_7When working with LUTs, it’s often hard to know what result you get until you try it. Then if you don’t like the look, you have to continue to slowly browse through your LUT files – applying each, one at a time – until you get the right look. Often that can lead to a lot of trial and error. The IWLTBAP package ships with lightweight Windows and Mac preview applications, however, the developer warns of some occasional instability on some machines. The easiest solution is to use their web-based LUT previewer. Simply upload a reference JPEG from your clip and then toggle through the LUTs to preview how those will affect the shot.

df1316_iwltbap_6I ran some tests on Blackmagic Design camera footage in both FCPX and Premiere Pro CC and got some really pleasing results. In the case of FCPX, if you use LUT Utility, you have to copy the .cube files into LUT Utility’s Motion Templates folder. This is found under Effects/CGC. Files stored there become visible in the LUT Utility pulldown menu. Note that only the first 50 or so files in that folder can be accessed, so be selective. If you apply two instances of the LUT Utility to a clip, then you can apply a Log-to-Rec709 conversion in the first and then the creative look LUT in the second. This plug-in has a mix slider, so you can adjust the intensity of the LUT to taste. As an effects plug-in, you can also place other effects, such as color correction in-between the two LUT Utility effects as part of that stack of effects. Doing this gives you nice control over color within FCPX with very little overhead on the application’s performance.

df1316_iwltbap_3If you are an FCPX user that has adopted Color Grading Central’s ColorFinale grading tool as your go-to color correction plug-in, then all of this LUT management within the application can be simply handled from the ColorFinale interface itself. Stack layers of LUTs and other color tools all inside the ColorFinale panel. LUT choices can be added or removed using the integrated LUT Manager and then relaunching FCPX to activate them as part of ColorFinale.

If you are a Premiere Pro CC editor, then the latest version was enhanced with the Lumetri Color panel. This control is organized as a stack of color modules, which include two entry points to add a LUT – in the Basic and the Creative tabs. In my testing of the new URSA footage, I applied a Log-to-Rec709 LUT for the URSA in Basic and then one the “look” LUTs, like the free Aspen standard version, in Creative. You still have all the other color control in the Lumetri panel to fine-tune these, including the intensity level of the LUT.

df1316_iwltbap_5LUTs are a creative tool that should be thought of as a stylistic choice. They aren’t an instant fix and shouldn’t be the only tool you use to color correct a clip. However, the LUTs from IWLTBAP provide a good selection of looks and moods that work well with a wide range of shots. Plus the package is very affordable and even more so if you get it after reading this blog! Readers who are interested can get 25% off of the retail price using the discount code DIGITALFILMS. Or by using this direct link.

Last but not least, check out the free, downloadable 4K film grain clip. It’s a ten second ProRes file that can be overlaid or blended to add grain to your shot.

©2016 Oliver Peters

Hail, Caesar!

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Combine kidnapping, mystery, farce, and a good measure of quirkiness, and you’ve defined the quintessential Coen Brothers script. Complete with a cast of Coen alums, Hail, Caesar! is just such a film. Joel and Ethan Coen’s latest is set in the motion picture factory town of Hollywood in the 1950s. Eddie Mannix (Josh Brolin) is a studio fixer tasked with finding Baird Whitlock (George Clooney), one of the studio’s biggest money-makers. Whitlock has been kidnapped in the middle of production of a Bible epic by a group called “The Future”. Of course, that’s not Mannix’s only dilemma, as he has other studio problems he needs to deal with, such as disgruntled director Laurence Laurentz (Ralph Fiennes) and personal issues by starlet DeeAnna Moran (Scarlett Johansson).

The Hail, Caesar! story idea has been kicking around for over a decade before the Coens finally brought it into production. Along with being a concept that fits right into their wheelhouse, it’s also a complex production. In this story about the Golden Age of Hollywood, much of the film involves movies within the movie. The tale weaves in and out of multiple productions being filmed on the fictional Capitol Pictures lot.

In keeping with the texture of films of that era, Hail, Caesar! was shot on film by long-time Coen director of photography, Roger Deakins (True Grit, No Country for Old Men, The Ladykillers). Deakins’ first choice might have been the ARRI ALEXA, but agreed that film was the appropriate solution and so shot with an ARRI 535-B to Kodak Vision3 negative stock. Fotokem handled development with EFILM covering telecine transfer, finishing, and digital intermediate color correction.

Time for a fresh change

Although they are lovers of the film image, Joel and Ethan Coen were also among the first to embrace Apple Final Cut Pro in their transition to digital editing for the film Intolerable Cruelty. They had been using Final Cut Pro up until Inside Llewyn Davis; however, it had become sufficiently “long in the tooth” that it was time for a change. This brought them to Adobe Premiere Pro CC. I recently interviewed Katie McQuerrey about this shift. She is credited as an additional or associate editor of numerous Coen films (Inside Llewyn Davis, True Grit, Burn After Reading) – a role which she describes as being Joel and Ethan’s right-hand person in the cutting room. For Hail, Caesar!, this included interfacing with Adobe and handling the general workflow so that Premiere Pro was a functional editing tool for the filmmakers.

df0916_hailcaesar_6McQuerrey explains, “After Apple stopped supporting Final Cut Pro 7 we knew it was time to change. We looked at Final Cut Pro X, but because of its lack of audio editing functions, we knew that it wasn’t right for us. So, we decided to give Premiere Pro a try. David Fincher had a successful experience with Gone Girl and we knew that Walter Murch, who is a friend of the Joel and Ethan’s, was using it on his next film. I’ve edited on Avid, Final Cut, and now Premiere Pro and they all make you adjust your editing style to adapt to the software. Joel and Ethan had only ever edited digitally on Final Cut Pro, so Premiere Pro provided the easiest transition. [Avid] Media Composer is very robust for the assistant editor, but a bit restrictive for the editor. I’m on an Avid job right now after a year away from it and miss some of the flexibility that Premiere Pro offers. You really come to appreciate how fluid it is to edit with. I think both Final Cut Pro 7 and Premiere Pro are better for the editor, but they do add a bit more stress on the assistants. Of course, Joel and Ethan were generally shielded from that.”

df0916_hailcaesar_2One of the unknowns with Premiere Pro was the fact that Hail, Caesar! was being shot on film. Avid has tried-and-true methods for tracking film keycode, but that was never part Premiere Pro’s architecture. Assistant editor David Smith explains, “EFILM scanned all of the negative at 2K resolution to ProRes for our cutting purposes. On an Avid job, they would have provided a corresponding ALE (Avid Log Exchange list) for the footage and you would be able to track keycode and timecode for the dailies. For this film, EFILM sync’ed the dailies and provided us with the media, as well as a Premiere Pro project file for each day. We were concerned about tracking keycode to turn over a cut list at the end of the job. Adobe even wrote us a build that included a metadata column for keycode. EFILM tracks their transfers internally, so their software would reference timecode back to the keycode in order to pull selects for the final scan and conform. At their suggestion, we used Change List software from Intelligent Assistance to provide a cut list, plus a standard EDL generated from Premiere Pro. In the end, the process wasn’t that much different after all.” EFILM scanned the selected negative clips at 4K resolution and the digital intermediate color correction was handled by Mitch Paulson under Roger Deakins’ supervision.

Adapting Premiere Pro to the Coen Brothers workflow

df0916_hailcaesar_3It was Katie McQuerrey’s job to test drive Premiere Pro ahead of the Coens and provide assistance as needed to get them up to speed. She says, “Joel was actually up to speed after a day or so. Initially we all wanted to make Premiere Pro work just like Final Cut, because it appears similar. Of course, many functions are quite different, but the longer we worked with it, the more we got used to some of  the Premiere Pro ways of doing things. As functionality issues came up, Adobe would make adjustments and send new software builds. I would test these out first. When I thought they would be ready for Joel and Ethan to use, we’d install it on their machines. I needed to let them concentrate on the edit and not worry about software.”

Joel and Ethan Coen developed a style of working that stems from their film editing days and that carried over into their use of Final Cut Pro. This was adjusted for Premiere Pro. McQuerrey continues, “Ethan and Joel work on different computers. Ethan will pick selected takes and mark ins and outs. Then he saves the project and dings a bell. Joel opens that project up to use as he assembles scenes. With FCP you could have multiple projects open at once, but not so with Premiere. We found out from Adobe that the way to handle this was through the Media Browser module inside of Premiere. Joel could browse the drive for Ethan’s project and then access it for specific sequences or selected shots. Joel could import these through Media Browser into his project as a non-destructive copy, letting Ethan continue on. Media Browser is the key to working collaboratively among several editors on the same project.” Their edit system consisted of several Mac Pro “tube” models connected to Open Drives shared storage. This solution was developed by workflow engineer Jeff Brue for Gone Girl and is based on using solid state drives, which enable fast media access.

df0916_hailcaesar_5As with all films, Hail, Caesar! posed creative challenges that any application must be able to deal with. McQuerrey explains, “Unlike other directors, Joel and Ethan wait until all the shooting is done before anything is cut. I wasn’t cutting along with dailies as is the case with most other directors. This gave me time to get comfortable with Premiere and to organize the footage. Because the story includes movies within the movie, there are different aspect ratios, different film looks and color and black-and-white film material. Editorially it was an exciting project because of this. For example, if a scene in the film was being ‘filmed’ by the on-camera crew, it was in color and should appear to play out in real-time as you see the take being filmed. This same sequence might also appear later in a Moviola viewer, as black-and-white, edited film. This affected how sequences were cut. Some shots that were supposed to be real-time needed to look like one continuous take. Or someone in the film may be watching a rough cut, therefore that part had to be cut like a rough cut. This is a film that I think editors will like, because there are a lot of inside jokes they’ll appreciate.”

Fine tuning for the feature film world

df0916_hailcaesar_4One criticism of Adobe Premiere Pro CC has been how it handles large project files, particularly when it comes to load times. McQuerrey answers, “The Open Drives system definitely helped with that. We had to split the film up into a separate projects, for cuts, sound, visual effects, music, etc. in order to work efficiently. However, as we got later into the post we found that even the smaller projects had grown to the size that load times got much slower. The remedy was to cull out old versions of sequences, so that these didn’t require indexing each time the project was opened. Periodically I would create archive projects to keep the oldest sequences and then delete most of the oldest sequences from the active project. This improved performance.”

The filmmaking team finished Hail, Caesar! with a lot of things they liked about their new software choice. McQuerrey says, “Joel likes some of the effects features in Premiere Pro to build transitions and temp comps. This film has more visual effects than a usual Coen Brothers film, including green screens, split screens, and time remaps. Many of the comps were done in Premiere, rather than After Effects. Ethan and Joel both work differently. Ethan would leave his bins in list view and do his mark-ups. On the other hand, Joel also really liked the icon view and hover scrubbing a lot. Temp sound editing while you are picture editing is very critical to their process. They’ll often use different takes or readings for the audio than for the picture, so how an application edits sound is as important – if not more so – than how it edits picture. We had a couple of bumps in the road getting the sound  tracks interface working to our liking, but with Adobe’s help in building new versions of software for us, we got to the place where we really appreciated Premiere’s sound tools.”

Katie McQuerrey and I wrapped up the interview with an anecdote about the Coens’ unique approach to their new editing tool. McQuerrey explains, “With any application, there are a number of repetitive keystrokes. At one point Joel joked about using a foot pedal, like on an old upright Moviola. At first we laughed it off, but then I checked around and found that you could buy custom control devices for video game play, including special mice and even foot controls. So we ordered a foot pedal and hooked it up to the computer. It came with it own software that let us map command functions to the pedal. We did this with Premiere’s snapping control, because Joel constantly toggles it on and off!” It’s ironic, given the context of the Hail, Caesar! story, but here you have something straight out of the Golden Age of film that’s found itself useful in the digital age.

Click here for Adobe’s behind-the-scenes look.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2016 Oliver Peters

Vinyl

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The decade of the 1970s was the heyday of the rock music business when a hit record nearly made you a king. It was the time right after Woodstock. Top bands like Led Zeppelin and the Rolling Stones commanded huge stadium shows. The legendary excesses of the music industry are most often encapsulated as “sex, drugs, and rock-n-roll”. Now the New York music and record company scene of that era has been brought to the screen in the new HBO series, Vinyl. The series was created by Mick Jagger & Martin Scorsese & Rich Cohen and Terence Winter.

Vinyl is told largely through the eyes of Richie Finestra (played by Bobby Cannavale, Daddy’s Home, Ant-Man), the founder and president of the fictional American Century Records. He’s a rags-to-riches guy with a gift for discovering music acts. In the pilot episode, the company is about to be sold to Polygram, but a series of events changes the course of Finestra’s future, which sets up the basis for the series. It’s New York in the 70s at the birth of hip-hop, disco, and punk rock with a lot of cultural changes going on as the backdrop. The series features an eclectic cast, including James Jagger (Mick’s son) as the leader singer of a raw, New York punk band, The Nasty Bits.

The pilot teleplay was written by Terence Winter and George Mastras, based on a story developed by Cohen, Scorsese, Jagger, and Winter. This feature-length series kick-off was directed by Scorsese with Rodrigo Prieto (A Midsummer Night’s Dream, The Wolf of Wall Street) as director of photography. Martin Scorsese is certainly no stranger to the music industry with projects like Woodstock, The Last Waltz, The Blues, and Shine A Light to his credit. Coupled with his innate ability to tell entertaining stories about the underbelly of life in New York, Vinyl makes for an interesting stew. The pilot was a year in production and post and sets the tone for the rest of the series, which will be directed by seven other directors. This is the same model as with Boardwalk Empire. Scorsese and Jagger are part of the team of executive producers, with Winter as the show runner.

Producing a pilot like a feature film

df0816_VINYL_2I recently interviewed David Tedeschi (George Harrison: Living in the Material World, Public Speaking), editor for the pilot episode of Vinyl. Kate Sanford and Tim Streeto are the editors for the series. Tedeschi has edited both documentary and narrative films prior to working with Martin Scorsese, for whom he’s edited a number of documentaries, such as No Direction Home and Shine A Light. But the Vinyl pilot is his first narrative project with Scorsese. Tedeschi explains, “The concept started out as an idea for a feature film. It landed at HBO, who was willing to green-light it as a full series. We were able to treat the pilot like a feature and had the luxury of being able to spend nearly a year in post, with some breaks in between.”

Even though Scorsese’s Sikelia Productions approached it like a feature, the editorial staff was small, consisting mainly of Tedeschi and one associate editor, Alan Lowe. Tedeschi talks about the post workflow, “The film was shot digitally with a Sony F55, but Scorsese and Prieto wanted to evoke a 16mm film look to be in keeping with the era. Deluxe handled the dailies – adding a film look emulation that included grain. They provided us with Avid DNxHD 115 media. Since most scenes were shot with two or three cameras, Alan would sync the audio by slate and then create multicam clips for me, before I’d start to edit. We were working on two Avid Media Composers connected to Avid ISIS shared storage. For viewing, we installed 50” Panasonic plasma displays that were calibrated by Deluxe. The final conform and color correction was  handed by Deluxe with Steve Bodner as colorist.”

df0816_VINYL_3He continues, “Scorsese had really choreographed the scenes precisely, with extensive notes. In the dailies process we would review every scene, and he would map out selects and then we’d work through it. In spite of being very specific about how he’d planned out a scene, he would often revisit a scene and look at other options in order to improve it. He was very open minded to new ways of looking at the material. Overall, it was a pretty tight script and edit. The first director’s cut was a little over two hours and the final came in at one hour and fifty-two minutes plus end credits.”

Story and structure

The pilot episode of Vinyl moves back and forth through a timeline of Finestra’s life and punctuates moments with interstitial elements, such as a guitar cameo by a fictionalized Bo Diddley. It’s easy to think these are constructs devised during editing, but Tedeschi says no. He explains, “I would love to take credit for that, but moving back and forth through eras was how the script was written. The interstitial elements weren’t in the script, but were Marty’s idea. He found extra time in the shooting schedule to film those and they worked beautifully in the edit.”

df0816_VINYL_4Many film editors have very specific ways they like to set up their bins in order to best sort and organize elected footage. Tedeschi’s approach is more streamlined. He explains, “My method is usually pretty simple. I don’t do special things in the bins. I will usually assemble a sequence of selected dailies for each scene. Then I’ll mark it up with markers and sometimes may color-code a few clips. On Vinyl, Alan would do the initial pass to composite some of the visual effects, like green screen window composites. He also handled a lot of the sound design for me.”

Vinyl is very detailed in how actual events, bands, people, and elements of the culture are represented and integrated into the story – although, in a fictionalized way. It’s a historical snapshot of the New York in the 70s and the culture of that time. Little elements like The King Biscuit Flower Hour (a popular radio show on progressive rock radio stations back then) playing on a radio or a movie marquee for Deep Throat easily pin-point the time and place. Anyone who’s seen the Led Zeppelin concert documentary, The Song Remains the Same, will remember one of the Madison Square Garden backstage scenes with an angry and colorful Peter Grant (Led Zeppelin’s manager). His persona and a similar event also made it into the story, but modified to be integral to the plot.

df0816_VINYL_5Accuracy is very important to Scorsese. Tedeschi says, “We have done documentaries about music and some of these people are part of our lives. We would all hear stories about some pretty over-the-top things, so a lot of this comes directly from their memories. The biggest challenge was to be faithful to New York in 1973.  It’s become this mythical place, but in Vinyl that’s the New York of Scorsese’s memory. We’ve certainly altered many actual facts, but even the most outrageous events that happen in the pilot and the series are rooted in true, historical events. We even reviewed historical footage. There was a very methodical approach.” Aside from the entertaining elements, it’s also a pretty solid story about how record companies actually operate.  He adds, “We had a screening towards the end of the editing process for the consultants, who had all worked in the record business. I knew we had done well, because they immediately launched into a lively discussion about contracts and industry standards and what names had been changed.”

This is a story about music and the music itself is a driving influence. Tedeschi concludes, “There is almost constant source music in the background. Scorsese went through each scene and we painstakingly auditioned many songs. One thing folks might not realize is that we sourced all of the recorded music that was used in their original formats. If a hit song was originally released as a 45 RPM record or an LP, then we’d track down a copy and try to use that. A few songs even came from 78 RPM records. We found a place that could handle high-quality transfers from such media and provide us with a digital file, which we used in the final mix. Often, a song may have been remastered, but we would compare our transfer with the remaster. The objective was to be faithful to the original sound – the way people heard it when it was released. After all, the series is called Vinyl for a reason. This was the director’s vision and how he remembered it.”

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2016 Oliver Peters

Adobe Premiere Pro CC Tips

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Adobe Premiere Pro CC is the dominant NLE that I encounter amongst my clients. Editors who’ve shifted over from Final Cut Pro “classic” may have simply transferred existing skills and working methods to Premiere Pro. This is great, but it’s easy to miss some of the finer points in Premiere Pro that will make you more productive. Here are seven tips that can benefit nearly any project.

df0616_ppro_1LUTs/Looks – With the addition of the Lumetri Color panel, it’s easy to add LUTs into your color correction workflow. You get there through the Color workspace preset or by applying a Lumetri Color effect to a timeline clip. Import a LUT from the Basic Correction or Creative section of the controls. From here, browse to any stored LUT on your hard drive(s) and it will be applied to the clip. There are plenty of free .cube LUTs floating around the web. However, you may not know that Look files, created through Adobe SpeedGrade CC in the .look format, may also be applied within the Creative section. You can also find a number of free ones on the web, including a set I created for SpeedGrade. Unlike LUTs, these also support effects used in SpeedGrade.

df0616_ppro_2Audio MixingPremiere Pro features very nice audio tools and internal audio mixing is a breeze. I typically use three filters on nearly every mix I create. First, I will add a basic dynamic compressor to all of my dialogue tracks. To keep it simple, I normally use the default preset. Second, I will add an EQ filter to my music tracks. Here, I will set it to notch out the midrange slightly, which lets the dialogue sit a bit better in the mix. Finally I’ll add limiting to the master track. Normally this is set to soft clip at -10db. If I have specific loudness specs as part of my delivery requirements, then I’ll route my mix through a submaster bus first and apply the limiting to the submaster. I will apply the RADAR loudness meter to the master bus and adjust accordingly to be compliant.

df0616_ppro_3Power windows – This is a term that came from DaVinci Resolve, but is often used generically to talk about building up a grade on a shot by isolating areas within the image. For example, brightening someone’s face more so than the overall image. You can do this in Premiere Pro by stacking up more than one Lumetri Color effect onto a clip. Start by applying a Lumetri Color effect and grade the overall shot. Next, apply a second instance of the effect and use the built-in Adobe mask tool to isolate only the selection that you want to add the second correction to, such as an oval around someone’s head. Tweak color as needed. If the shot moves around, you can even use the internal tracker to have your mask follow the object. Do you have another area to adjust? Simply add a third effect and repeat the process.

df0616_ppro_4Export/import titles – Premiere Pro titles are created in the Title Designer module and these titles can be exported as a separate metadata file (.prtl format). Let’s say that you have a bunch of titles that you plan to use repeatedly on new projects, but you don’t want to bring these in from one project to the next. You can do this more simply by exporting and re-importing the title’s data file. Simply select the title in the bin and then File/Export/Title. The hitch is that Adobe’s Media Browser will not recognize the .prtl format and so the easiest way to import it into a new project is to drag it from the Finder location straight into the new Premiere Pro project. This will create a new title inside of the new project. Both instances of this title are unique, so editing the title in any project won’t effect how it appears elsewhere.

df0616_ppro_5Replace with clip – I work on a number of productions where there’s a base version of a commercial and then a lot of versions with small changes to each. A typical example is a spot that uses many different lower third phone numbers, which are market-specific. The Replace function shaves hours off of this workflow. I first duplicate a completed sequence and rename it. Then I select the correct phone number in the bin, followed by selecting the clip in the timeline to be changed. Right-click and choose Replace with Clip/From Bin. This will update the content of my timeline clip with the new phone number. Any effects or keyframes that have been applied in the timeline remain.

df0616_ppro_6Optical flow speed changes – In a recent update, optical flow interpolation was added as one of the speed change choices. Other than the obvious uses of speed changes, I found this to be a get way of creating slower camera moves that look nearly perfect. Optical flow can be tricky – sometimes creating odd motion artifacts – and at other times it’s perfect. I have a camera slider move or pan along a mantle containing family photos. The move is too fast. So, yes, I can slow it down, but the horizontal motion will leave it as stuttering or blurred. However, if I slow it to exactly 50% and select optical flow, in most cases, I get very good results. That’s because this speed and optical flow have created perfect “in-between” frames. A :05 move is now :10 and works better in the edit. If I’m going to use this same clip a lot, I simply render/export it is as a new piece of media, which I’ll bring back into the project as if it were a VFX clip.

df0616_ppro_7Render and replace – Premiere Pro CC is great when you have a ton of different camera formats and want to work with native media. While that generally works, a large project will really impede performance, especially in the editing sequence. The alternative is to transcode the clips to an optimized or so-called mezzanine format. Adobe does this in the sequence rather than in the bin and it can be done for individual clips or every clip within the sequence. You might have a bunch of native 4K .mp4 camera clips in a 1080p timeline. Simply select the clips within the timeline that you would like to transcode and right-click for the Render and Replace dialogue. At this point you have a several options, including whether to use clip or sequence settings, handle length, codec, and file location. If you choose “clip”, then what you get is a new, trimmed clip in an optimized codec, which will be stored in a separate folder. This becomes a great way to consolidate your media. The clip is imported into your bin, so you have access to both the original and the optimized clip at the original settings. Therefore, your consolidated clips are still 4K if that’s how they started.

This also works for Dynamic Link After Effects compositions. Render and Replace those for better timeline performance. But if you need to go back to the composition in order to update it in After Effects, that’s just a few clicks away.

©2016 Oliver Peters