Fresh Dressed

df0515_frdress_2_smThe Sundance Film Festival is always a great event to showcase not just innovative dramas and comedies, but also new documentaries. This year brought good news for Adobe, because 21 of the documentaries to be shown were edited on Premiere Pro, which is more than double last year’s count. One such film is Fresh Dressed, which chronicles the history of hip-hop fashion from its birth in the Bronx during the 1970s to its evolution into a mainstream industry. It digs underneath the surface to look into other factors, like race and the societal context. Fresh Dressed was the first film written and directed by veteran producer Sacha Jenkins (Being Terry Kennedy, 50 Cent: The Power and the Money). The film features interviews with Pharrell Williams, Nas, Daymond John, Damon Dash, and Karl Kani, among others. It includes archival footage and some animation.

I recently spoke with Andrea B. Scott (Florence Arizona, A Place at the Table), who was brought in to complete the editing of the film to get it ready in time for Sundance submission. Scott explains, “Sacha and the team started shooting interviews in September of 2013. Initially there was another editor on board, who handled the first pass of cutting and organization of the project. I came to the film in May of 2014 after a basic assembly had been completed. This film was being produced by CNN and they recommended me. I definitely agree with the sentiment that editing is a lot like ‘writing with pictures’. It was my job to streamline the film and help craft the narrative, and bring Sacha’s vision to life as a moving story.”

df0515_frdress_1_smScott has worked on several documentaries before and has her own routine for learning the material. She says, “I usually start by watching the interviews through a couple of times, making notes with markers, and also by reading interview transcripts and highlighting certain passages. Then, I’ll pull selects to whittle down the interview to the parts that are most likely to be used in any given section. On Fresh Dressed, because I started with an assembly and needed to work quickly to get to a rough cut, I relied heavily on interview transcripts – going through the film section-by-section and interview-by-interview, and pulling selects – going back and forth from reading the transcript to watching the interview. Fresh Dressed involved about 30 interviews and totaled approximately 200 hours of raw footage. A lot of the archival search had already been done by the time I came on board, so I also had to watch through that footage and had a lot of good material to pull from.”

All film editing involves a working relationship between the editor and the director and Fresh Dressed was no exception. Scott continues, “It’s always a process of gaining the trust of the director. I come from the suburbs and I’m a bit younger than some of the crew, so it was a steep learning curve for me to understand the history of the hip-hop culture and fashion. It basically evolved from the urban gang culture of the 1970s, moved out from New York City, and went global from there. Inevitably, as the editor, you bring fresh eyes to the project and part of the editing process is to refine. The goal was to tell the story without voice-over, so we used the interviews to create that narrative thread. I put in a lot more archival material than was there before, which served to enliven the film with moments of nostalgia and infuse it with a fun energy. In a written script or book there can be a lot of side stories, which make sense on paper and are easy for the reader to follow and digest. But, the film we were making had to be more direct, with a linear timeline. Part of what I did was to strip away tangents that take you away from the main story.”df0515_frdress_3_sm

Scott’s touch also extended to the music. “The film was originally delivered to me with wall-to-wall music,” she explains. “I stripped out the music at first, so I could really think about story. Then I added temp score back in places to help steer the audience and underscore certain moments with another level of meaning.  In the end, we hired a talented composer, Tyler Strickland, to write the bulk of the score, and we also used some popular tracks from critical moments in the history of hip-hop.”

This was Scott’s first experience with Adobe Premiere Pro CC. Her prior experience had been with Apple Final Cut Pro (the “legacy” version). She found it to be a relatively easy transition. “The production company had already started the edit on Premiere Pro and so I continued with it. I welcomed being pushed to a new editing platform. It took about a week for me to get the hang of it. Since we were on a short deadline by that time, I simply ran it like I was used to running Final Cut. I really didn’t have the time to learn all of its nuances. I used the FCP keyboard settings, so everything felt natural to me. There’s a lot about Premiere Pro that I really like now. For example, the way it works with native media and using Adobe Media Encoder to export files.” The workstations were connected to shared storage, allowing the Scott to access material from any computer in the production office.

df0515_frdress_4_smEditors considering a shift to Premiere Pro CC sometimes question how its performance is with long-form project. Scott responds, “I was editing on an iMac and performance was fine. One tip I found that helps to speed up the loading of a large project is to discard old sequences. When I edit, I generally duplicate sequences and continue on those as I make changes. So on a large project you tend to build up a lot of sequences that way. While it’s good to save the past few versions in case you need to go back, you still have a lot of the oldest ones that simply aren’t ever needed again. These tend to slow down the speed of loading the project as all the media is relinked each time you launch it. By simply getting rid of a lot of these, you can improve performance.”

To handle the final stages of post, Scott exported an OMF file from Premiere Pro CC to be used by the audio mixer and and an XML file for the colorist. The final color correction of Fresh Dressed is being handled by Light of Day in New York. They will also complete the conform and recreate all moves on archival stills.

Scott concludes, “The film was, for the most part, made in New York, which makes sense, because Fresh Dressed really is a New York story at its heart.  Working on this film, I gained another level of love for New York, a deeper appreciation for all the many stories that start in this city, and for the deeper context that surrounds those individual stories.  Plus I had a lot of fun along the way.”

Read more about Fresh Dressed at Adobe’s Premiere Pro blog.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

Understanding SpeedGrade

df1615_sg_1How you handle color correction depends on your temperament and level of expertise. Some editors want to stay within the NLE, so that editorial adjustments are easily made after grading. Others prefer the roundtrip to a powerful external application. When Adobe added the Direct Link conduit between Premiere Pro CC and SpeedGrade CC, they gave Premiere Pro editors the best of both worlds.

Displays

df1615_sg_4SpeedGrade is a standalone grading application that was initially designed around an SDI feed from the GPU to a second monitor for your external video. After the Adobe acquisition, Mercury Transmit was eventually added, so you can run SpeedGrade with one display, two computer displays, or a computer display plus a broadcast monitor. With a single display, the video viewer is integrated into the interface. At home, I use two computer displays, so by enabling a dual display layout, I get the SpeedGrade interface on one screen and the full-screen video viewer on the other. To do this you have to correctly offset the pixel dimensions and position for the secondary display in order to see it. Otherwise the image is hidden behind the interface.

Using Mercury Transmit, the viewer image is sent to an external monitor, but you’ll need an appropriate capture/monitoring card or device. AJA products seem to work fine. Some Blackmagic devices work and others don’t. When this works, you will lose the viewer from the interface, so it’s best to have the external display close – as in next to your interface monitor.

Timeline

df1615_sg_3When you use Direct Link, you are actually sending the Premiere Pro timeline to SpeedGrade. This means that edits and timeline video layers are determined by Premiere Pro and those editing functions are disabled in SpeedGrade. It IS the Premiere Pro timeline. This means certain formats that might not be natively supported by a standalone SpeedGrade project will be supported via the Direct Link path – as long as Premiere Pro natively supports them.

There is a symbiotic relationship between Premiere Pro and SpeedGrade. For example, I worked on a music video that was edited natively using RED camera media. The editor had done a lot of reframing from the native 4K media in the 1080 timeline. All of this geometry was correctly interpreted by SpeedGrade. When I compared the same sequence in Resolve (using an XML roundtrip), the geometry was all wrong. SpeedGrade doesn’t give you access to the camera raw settings for the .r3d media, but Premiere Pro does. So in this case, I adjusted the camera raw values by using the source settings control in Premiere Pro, which then carried those adjustments over to SpeedGrade.

df1615_sg_2Since the Premiere Pro timeline is the SpeedGrade timeline when you use Direct Link, you can add elements into the sequence from Premiere, in order to make them available in SpeedGrade. Let’s say you want to add a common edge vignette across all the clips of your sequence. Simply add an adjustment layer to a top track while in Premiere. This appears in your SpeedGrade timeline, enabling you to add a mask and correction within the adjustment layer clip. In addition, any video effects filters that you’ve applied in Premiere will show up in SpeedGrade. You don’t have access to the controls, but you will see the results interactively as you make color correction adjustments.

df1615_sg_17All SpeedGrade color correction values are applied to the clip as a single Lumetri effect when you send the timeline back to Premiere Pro. All grading layers are collapsed into a single composite effect per clip, which appears in the clip’s effect stack (in Premiere Pro) along with all other filters. In this way you can easily trim edit points without regard to the color correction. Traditional roundtrips render new media with baked-in color correction values. There, you can only work within the boundaries of the handles that you’ve added to the file upon rendering. df1615_sg_16Not so with Direct Link, since color correction is like any other effect applied to the original media. Any editorial changes you’ve made in Premiere Pro are reflected in SpeedGrade should you go back for tweaks, as long as you continue to use Direct Link.

12-way and more

df1615_sg_5Most editors are familiar with 3-way color correctors that have level and balance controls for shadows, midrange and highlights. Many refer to SpeedGrade’s color correction model as a 12-way color corrector. The grading interface features a 3-way (lift/gamma/gain) control for four ranges of correction: overall, shadows, midrange, and highlights. Each tab also adds control of contrast, pivot, color temperature, magenta (tint), and saturation. Since shadow, midrange, and highlight ranges overlap, you also have sliders that adjust the overlap thresholds between shadow and midrange and between the midrange and highlight areas.

df1615_sg_7Color correction is layer based – similar to Photoshop or After Effects. SpeedGrade features primary (“P”) , secondary (“S”) and filter layers (the “+” symbol). When you add layers, they are stacked from bottom to top and each layer includes an opacity control. As such, layers work much the same as rooms in Apple Color or nodes in DaVinci Resolve. You can create a multi-layered adjustment by using a series of stacked primary layers. Shape masks, like that for a vignette, should be applied to a primary layer. df1615_sg_10The mask may be normal or inverted so that the correction is applied either to the inside or the outside of the mask. Secondaries should be reserved for HSL keys. For instance, highlighting the skin tones of a face to adjust its color separately from the rest of the image. The filter layer (“+”) is where you’ll find a number of useful tools, including Photoshop-style creative effect filters, LUTs, and curves.

Working with grades

df1615_sg_13The application of color correction can be applied to a clip as either a master clip correction or just a clip correction (or both). When you grade using the default clip tab, then that color correction is only being applied to that single clip. If you grade in the master clip tab, then any color correction that you apply to that clip will also be applied to every other instance of that same media file elsewhere on the timeline. Theoretically, in a multicam edit – made up of four cameras with a single media file per camera – you could grade the entire timeline by simply color correcting the first clip for each of the four cameras as a master clip correction. All other clips would automatically inherit the same settings. Of course, that almost never works out quite as perfectly, therefore, you can grade a clip using both the master clip and the regular clip tabs. Use the master for a general setting and still use the regular clip tab to tweak each shot as needed.

df1615_sg_9Grades can be saved and recalled as Lumetri Looks, but typically these aren’t as useful in actual grading as standard copy-and-paste functions – a recent addition to SpeedGrade CC. Simply highlight one or more layers of a graded clip and press copy (cmd+c on a Mac). Then paste (cmd+v on a Mac) those to the target clip. These will be pasted in a stack on top of the default, blank primary correction that’s there on every clip. You can choose to use, ignore, or delete this extra primary layer.

SpeedGrade features a cool trick to facilitate shot matching. The timeline playhead can be broken out into multiple playheads, which will enable you to compare two or more shots in real-time on the viewer. This quick comparison lets you make adjustments to each to get a closer match in context with the surrounding shots.

A grading workflow

df1615_sg_14Everyone has their own approach to grading and these days there’s a lot of focus on camera and creative LUTs. My suggestions for prepping a Premiere Pro CC sequence for SpeedGrade CC go something like this.

df1615_sg_6Once, you are largely done with the editing, collapse all multicam clips and flatten the timeline as much as possible down to the bottom video layer. Add one or two video tracks with adjustment layers, depending on what you want to do in the grade. These should be above the last video layer. All graphics – like lower thirds – should be on tracks above the adjustment layer tracks. This is assuming that you don’t want to include these in the color correction. Now duplicate the sequence and delete the tracks with the graphics from the dupe. Send the dupe to SpeedGrade CC via Direct Link.

In SpeedGrade, ignore the first primary layer and add a filter layer (“+”) above it. Select a camera patch LUT. For example, an ARRI Log-C-to-Rec-709 LUT for Log-C gamma-encoded Alexa footage. Repeat this for every clip from the same camera type. If you intend to use a creative LUT, like one of the SpeedLooks from LookLabs, you’ll need one of their camera patches. This shifts the camera video into a unified gamma profile optimized for their creative LUTs. If all of the footage used in the timeline came from the same camera and used the same gamma profile, then in the case of SpeedLooks, you could apply the creative LUT to one the adjustment layer clips. This will apply that LUT to everything in the sequence.

df1615_sg_8Once you’ve applied input and output LUTs you can grade each clip as you’d like, using primary and secondary layers. Use filter layers for curves. Any order and any number of layers per clip is fine. Using this methodology all grading is happening between the camera patch LUT and the creative LUT added to the adjustment layer track. Finally, if you want a soft edge vignette on all clips, apply an edge mask to the default primary layer of the topmost adjustment layer clip. Adjust the size, shape, and softness of the mask. Darken the outside of the mask area. Done.df1615_sg_11

(Note that not every camera uses logarithmic gamma encoding, nor do you want to use LUTs on every project. These are the “icing on the cake”, NOT the “meat and potatoes” of grading. If your sequence is a standard correction without any stylized creative looks, then ignore the LUT procedures I described above.)

df1615_sg_15Now simply send your timeline back to Premiere Pro (the “Pr” button). Back in Premiere Pro CC, duplicate that sequence. Copy-and-paste the graphics tracks from the original sequence to the available blank tracks of the copy. When done, you’ll have three sequences: 1) non-color corrected with graphics, 2) color corrected without graphics, and 3) final with color correction and graphics. The beauty of the Direct Link path between Premiere Pro CC and SpeedGrade CC is that you can easily go back and forth for changes without ever being locked in at any point in the process.

©2015 Oliver Peters

Stocking Stuffers 2014

df_stuff14_1_smAs we head toward the end of the year, it’s time to look again at a few items you can use to spruce up your edit bay.

Let’s start at the computer. The “tube” Mac Pro has been out for nearly a year, but many will still be trying to get the most life out of their existing Mac Pro “tower”. I wrote about this awhile back, so this is a bit of a recap. More RAM, an internal SSD and an upgraded GPU card are the best starting points. OWC and Crucial are your best choices for RAM and solid state drives. If you want to bump up your GPU, then the Sapphire 7950 (Note: I have run into issues with some of these cards, where the spacer screws are too tall, requiring you to install the card in slot 2) and/or Nvidia GTX 680 Mac Edition cards are popular choices. However, these will only give you an incremental boost if you’ve already been running an ATI 5870 or Nvidia Quadro 4000 display card. df_stuff14_2_smIf you have the dough and want some solid horsepower, then go for the Nvidia Quadro K5000 card for the Mac. To expand your audio monitoring, look at Mackie mixers, KRK speakers and the PreSonus Audiobox USB interface. Naturally there are many video monitor options, but assuming you have an AJA or Blackmagic Design interface, FSI would be my choice. HP Dreamcolor is also a good option when connecting directly to the computer.

The video plug-in market is prolific, with plenty of packages and/or individual filters from FxFactory, Boris, GenArts, FCP Effects, Crumplepop, Red Giant and others. I like the Universe package from df_stuff14_3_smRed Giant, because it supports FCP X, Motion, Premiere Pro and After Effects. Red Giant continues to expand the package, including some very nice new premium effects. If you are a Media Composer user, then you might want to look into the upgrade from Avid FX to Boris Red. Naturally, you can’t go wrong with FxFactory, especially if you use FCP X. There’s a wide range of options with the ability to purchase single filters – all centrally managed through the FxFactory application.

df_stuff14_4_smFor audio, the go-to filter companies are iZotope, Waves and Focusrite to name a few. iZotope released some nice tools in its RX4 package – a state-of-the-art repair and restoration suite. If you just want a suite of EQ and compression tools, then Nectar Elements or Nectar 2 are the best all-in-one collections of audio filters. While most editors do their audio editing/mastering within their NLE, some need a bit more. Along with a 2.0 bump for Sound Forge Pro Mac, Sony Creative Software also released a standard version of Sound Forge through the Mac App Store.

df_stuff14_5_smIn the color correction world, there’s been a lot of development in film emulation look-up tables (LUTs). These can be used in most NLEs and grading applications. If that’s for you, check out ImpulZ and Osiris from Color Grading Central (LUT Utility required with FCP X), Koji Color or the new SpeedLooks 4 (from LookLabs). Each package offers a selection of Fuji and Kodak emulations, as well as other stylized looks. These packages feature LUT files in the .cube and/or .look (Adobe) LUT file formats and, thus, are compatible with most applications. If you want film emulation that also includes 3-way grading tools and adjustable film grain, your best choice is FilmConvert 2.0.

df_stuff14_6_smAnother category that is expanding covers the range of tools used to prep media from the camera prior to the edit. This had been something only for DITs and on-set “data wranglers”, but many videographers are increasingly using such tools on everyday productions. These now offer on-set features that benefit all file-based recordings. Pomfort Silverstack, ShotPut Pro, Redcine-X Pro and Adobe Prelude have been joined by new tools. To start, there’s Offload and EditReady, which are two very specific tools. Offload simply copies and verifies camera-card media to two target drives. EditReady is a simple drag-and-drop batch convertor to transcode media files. These join QtChange (a utility to batch-add timecode and reel IDs to media files) and Better Rename (a Finder renaming utility) in my book, as the best single-purpose production applications.

df_stuff14_7_smIf you want more in one tool, then there’s Bulletproof, which has now been joined in the market by Sony Creative Software’s Catalyst Browse and Prepare. Bulletproof features media offload, organization, color correction and transcoding. I like it, but my only beef is that it doesn’t properly handle timecode data, when present. Catalyst Browse is free and similar to Canon’s camera utility. It’s designed to read and work with media from any Sony camera. Catalyst Prepare is the paid version with an expanded feature set. It supports media from other camera manufacturers, including Canon and GoPro.

df_stuff14_8_smFinally, many folks are looking for alternative to Adobe Photoshop. I’m a fan of Pixelmator, but this has been joined by Pixlr and Mischief. All three are available from the Mac App Store. Pixlr is free, but can be expanded through subscription. In its basic form, Pixlr is a stylizing application that is like a very, very “lite” version of Photoshop; however, it includes some very nice image processing filters. Mischief is a drawing application designed to work with drawing tablets, although a mouse will work, too.

©2014 Oliver Peters

New NLE Color Features

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As someone who does color correction as often within an NLE as in a dedicated grading application, it’s nice to see that Apple and Adobe are not treating their color tools as an afterthought. (No snide Apple Color comments, please.) Both the Final Cut Pro 10.1.2 and Creative Cloud 2014 updates include new tools specifically designed to improve color correction. (Click the images below for an expanded view with additional explanation.)

Apple Final Cut Pro 10.1.2

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This FCP X update includes a new, built-in LUT (look-up table) feature designed to correct log-encoded camera files into Rec 709 color space. This type of LUT is camera-specific and FCP X now comes with preset LUTs for ARRI, Sony, Canon and Blackmagic Design cameras. This correction is applied as part of the media file’s color profile and, as such, takes affect before any filters or color correction is applied.

These LUTs can be enabled for master clips in the event, or after a clip has been edited to a sequence (FCP X project). The log processing can be applied to a single clip or a batch of clips in the event browser. Simply highlight one or more clips, open the inspector and choice the “settings” selection. In that pane, access the “log processing” pulldown menu and choose one of the camera options. This will now apply that camera LUT to all selected clips and will stay with a clip when it’s edited to the sequence. Individual clips in the sequence can later be enabled or disabled as needed. This LUT information does not pass though as part of an FCPXML roundtrip, such as sending a sequence to Resolve for color grading.

Although camera LUTs are specific to the color science used for each camera model’s type of log encoding, this doesn’t mean you can’t use a different LUT. Naturally some will be too extreme and not desirable. Some, however, are close and using a different LUT might give you a desirable creative result, somewhat like cross-processing in a film lab.

Adobe CC 2014 – Premiere Pro CC and SpeedGrade CC

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In this CC 2014 release, Adobe added master clip effects that travel back and forth between Premiere Pro CC and SpeedGrade CC via Direct Link. Master clip effects are relational, meaning that the color correction is applied to the master clip and, therefore, every instance of this clip that is edited to the sequence will have the same correction applied to it automatically. When you send the Premiere Pro CC sequence to SpeedGrade CC, you’ll see that the 2014 version now has two correction tabs: master clip and clip. If you want to apply a master clip effect, choose that tab and do your grade. If other sections of the same clip appear on the timeline, they have automatically been graded.

Of course, with a lot of run-and-gun footage, iris levels and lighting changes, so one setting might not work for the entire clip. In that case, you can add a second level of grading by tweaking the shot in the clip tab. Effectively you now have two levels of grading. Depending on the show, you can grade in the master clip tab, the clip tab or both. When the sequence goes back to Premiere Pro CC, SpeedGrade CC corrections are applied as Lumetri effects added to each sequence clip. Any master clip effects also “ripple back” to the master clip in the bin. This way, if you cut a new section from an already-graded master clip to that or any other sequence, color correction has already been applied to it.

In the example I created for the image above, the shot was graded as a master clip effect. Then I added more primary correction and a filter effect, by using the clip mode for the first time the clip appears in the sequence. This was used to create a cartoon look for that segment on the timeline. Compare the two versions of these shots – one with only a master clip effect (shots match) and the other with a separate clip effect added to the first (shots are different).

Since master clip effects apply globally to source clips within a project, editors should be careful about changing them or copy-and-pasting them, as you may inadvertently alter another sequence within the same project.

©2014 Oliver Peters

Cold In July

df_cij_2_smJim Mickle started his career as a freelance editor in New York, working on commercials and corporate videos, like so many others. Bitten by the filmmaking bug, Mickle has gone on to successfully direct four indie feature films, including his latest, Cold in July. Like his previous film, We Are What We Are, both films had a successful premiere at the Sundance Film Festival.

Cold In July, which is based on a novel by Joe R. Lansdale, is a noir crime drama set in 1980s East Texas. It stars Michael C. Hall (Dexter), Sam Shepard (Out of the Furnace, Killing Them Softly) and Don Johnson (Django Unchained, Miami Vice). Awakened in the middle of the night, small town family man Richard Dane (Hall) kills a burglar in his house. Dane soon fears for his family’s safety when the burglar’s ex-con father, Ben (Shepard), comes to town, bent on revenge. However, the story takes a twist into a world of corruption and violence. Add Jim Bob (Johnson) to this mix, as a pig-farming, private eye, and you have an interesting trio of characters.

According to Jim Mickle, Cold In July was on a fast-track schedule. The script was optioned in 2007, but production didn’t start until 2013. This included eight weeks of pre-production beginning in May and principal photography starting in July (for five weeks) with a wrap in September. The picture was “locked” shortly after Thanksgiving. Along with Mickle, John Paul Hortsmann (Killing Them Softly) shared editing duties.

df_cij_1_smI asked Mickle how it was to work with another editor. He explained, “I edited my last three films by myself, but with this schedule, post was wedged between promoting We Are What We Are and the Sundance deadline. I really didn’t have time to walk away from it and view it with fresh eyes. I decided to bring John Paul on board to help. This was the first time I’ve worked with another editor. John Paul was cutting while I was shooting and edited the initial assembly, which was finished about a week before the Sundance submission deadline. I got involved in the edit about mid-October. At that point, we went back to tighten and smooth out the film. We would each work on scenes and then switch and take a pass at each other’s work.”

df_cij_4_smMickle continued, “The version that we submitted to Sundance was two-and-a-half hours long. John Paul and I spent about three weeks polishing and were ready to get feedback from the outside. We held a screening for 20 to 25 people and afterwards asked questions about whether the plot points were coherent to them. It’s always good for me, as the director, to see the film with an audience. You get to see it fresh – with new eyes – and that helps you to trim and condense sections of the film. For example, in the early versions of the script, it generally felt like the middle section of the film lost tension. So, we had added a sub-plot element into the script to build up the mystery. This was a car of agents tailing our hero that we could always reuse, as needed. When we held the screening, it felt like that stuff was completely unnecessary and simply put on top of the rest of the film. The next day we sliced it all out, which cut 10 minutes out of the film. Then it finally felt like everything clicked.”

df_cij_3_smThe director-editor relationship always presents an interesting dynamic, since the editor can be objective in cutting out material that may have cost the director a lot of time and effort on set to capture. Normally, the editor has no emotional investment in production of the footage. So, how did Jim Mickle as the editor, treat his own work as the director? Mickle answered, “As an editor, I’m more ruthless on myself as the director. John Paul was less quick to give up on scenes than I. There are things I didn’t think twice about losing if they didn’t work, but he’d stay late to fix things and often have a solution the next day. I shoot with plenty of coverage these days, so I’ll build a scene and then rework it. I love the edit. It’s the first time you really feel comfortable and can craft the story. On the set, things happen so quickly, that you always have to be reactive – working and thinking on your feet.”

df_cij_5_smAlthough Mickle had edited We Are What We Are with Adobe Premiere Pro, the decision was made to shift back to Apple Final Cut Pro 7 for the edit of Cold In July. Mickle explained, “As a freelance editor in New York, I was very comfortable with Final Cut, but I’m also an After Effects user. When doing a lot of visual effects, it really feels tedious to go back and forth between Final Cut and After Effects. The previous film was shot with RED cameras and I used a raw workflow in post, cutting natively with Premiere Pro. I really loved the experience – working with raw files and Dynamic Link between Premiere and After Effects. When we hired John Paul as the primary editor on the film, we opted to go back to Final Cut, because that is what he is most comfortable with. That would get the job done in the most expedient fashion, since he was handling the bulk of the editing.”

df_cij_6_sm“We shot with RED cameras again, but the footage was transcoded to ProRes for the edit. I did find the process to be frustrating, though, because I really like the fluidness of using the raw files in Premiere. I like the editing process to live and breath and not be delineated. Having access to the raw films, lets me tweak the color correction, which helps me to get an idea of how a scene is shaping up. I get the composer involved early, so we have a lot of the real music in place as a guide while we edit. This way, your cutting style – and the post process in general – are more interactive. In any case, the ProRes files were only used to get us to the locked cut. Our final DI was handled by Light Iron in New York and they conformed the film from the original RED files for a 2K finish.”

The final screening with mix, color correction and all visual effects occurred just before Sundance. There the producers struck a distribution deal with IFC Films. Cold In July started its domestic release in May of this year.

Originally written for Digital Video magazine/CreativePlanetNetwork.

©2014 Oliver Peters

NAB 2014 Thoughts

Whodathunkit? More NLEs, new cameras from new vendors and even a new film scanner! I’ve been back from NAB for a little over a week and needed to get caught up on work while decompressing. The following are some thoughts in broad strokes.

Avid Connect. My trip started early with the Avid Connect costumer event. This was a corporate gathering with over 1,000 paid attendees. Avid execs and managers outlined the corporate vision of Avid Everywhere in presentations that were head-and-shoulders better than any executive presentations Avid has given in years. For many who attended, it was to see if there was still life in Avid. I think the general response was receptive and positive. Avid Everywhere is basically a realignment of existing and future products around a platform concept. That has more impact if you own Avid storage or asset management software. Less so, if you only own a seat of Media Composer or ProTools. No new software features were announced, but new pricing models were announced with options to purchase or rent individual seats of the software – or to rent floating licenses in larger quantities.

4K. As predicted, 4K was all over the show. However, when you talked to vendors and users, there was little clear direction about actual mastering in 4K. It is starting to be a requirement in some circles, like delivering to Netflix, for example; but for most users 4K stops at acquisition. There is interest for archival reasons, as well as for reframing shots when the master is HD or 2K.

Cameras. New cameras from Blackmagic Design. Not much of a surprise there. One is the bigger, ENG-style URSA, which is Blackmagic’s solution to all of the add-ons people use with smaller HDSLR-sized cameras. The biggest feature is a 10” flip-out LCD monitor. AJA was the real surprise with its own 4K Cion camera. Think KiPro Quad with a camera built around it. Several DPs I spoke with weren’t that thrilled about either camera, because of size or balance. A camera that did get everyone jazzed was Sony’s A7s, one of their new Alpha series HDSLRs. It’s 4K-capable when recorded via HDMI to an external device. The images were outstanding. Of course, 4K wasn’t everywhere. Notably not at ARRI. The news there is the Amiraa sibling to the Alexa. Both share the same sensor design, with the Amira designed as a documentary camera. I’m sure it will be a hit, in spite of being a 2K camera.

Mac Pro. The new Mac Pro was all over the show in numerous booths. Various companies showed housings and add-ons to mount the Mac Pro for various applications. Lots of Thunderbolt products on display to address expandability for this unit, as well as Apple laptops and eventually PCs that will use Thunderbolt technology. The folks at FCPworks showed a nice DIT table/cart designed to hold a Mac Pro, keyboard, monitoring and other on-set essentials.

FCP X. Speaking of FCP X, the best place to check it out was at the off-site demo suite that FCPworks was running during the show. The suite demonstrated a number of FCP X-based workflows using third-party utilities, shared storage from Quantum and more. FCP X was in various booths on the NAB show floor, but to me it seemed limited to partner companies, like AJA. I thought the occurrences of FCP X in other booths was overshadowed by Premiere Pro CC sightings. No new FCP X feature announcements or even hints were made by Apple in any private meetings.

NLEs. The state of nonlinear editing is in more flux than ever. FCP X seems to be picking up a little steam, as is Premiere Pro. Yet, still no clear market leader across all sectors. Autodesk announced Smoke 2015, which will be the last version you can buy. Following Adobe’s lead, this year they shift to a rental model for their products. Smoke 2015 diverges more from the Flame UI model with more timeline-based effects than Smoke 2013. Lightworks for the Mac was demoed at the EditShare booth, which will make it another new option for Mac editors. Nothing new yet out of Avid, except some rebranding – Media Composer is now Media Composer | Software and Sphere is now Media Composer | Cloud. Expect new features to be rolled in by the end of this year. The biggest new player is Blackmagic Design, who has expanded the DaVinci Resolve software into a full-fledged NLE. With a cosmetic resemblance to FCP X, it caused many to dub it “the NLE that Final Cut Pro 8 should have been”. Whether that’s on the mark or just irrational exuberance has yet to be determined. Suffice it to say that Blackmagic is serious about making it a powerful editor, which for now is targeted at finishing.

Death of i/o cards. I’ve seen little mention of this, but it seems to me that dedicated PCIe video capture cards are a thing of the past. KONA and Decklink cards are really just there to support legacy products. They have less relevance in the file-based world. Most of the focus these days is on monitoring, which can be easily (and more cheaply) handled by HDMI or small Thunderbolt devices. If you looked at AJA and Matrox, for example, most of the target for PCIe cards is now to supply the OEM market. AJA supplies Quantel with their 4K i/o cards. The emphasis for direct customers is on smaller output-only products, mini-converters or self-contained format converters.

Film. If you were making a custom, 35mm film scanner – get out of the business, because you are now competing against Blackmagic Design! Their new film scanner is based on technology acquired through the purchase of Cintel a few months ago. Now Blackmagic introduced a sleek 35mm scanner capable of up to 30fps with UltraHD images. It’s $30K and connects to a Mac Pro via Thunderbolt2. Simple operation and easy software (plus Resolve) will likely rekindle the interest at a number of facilities for the film transfer business. That will be especially true at sites with a large archive of film.

Social. Naturally NAB wouldn’t be the fun it is without the opportunity to meet up with friends from all over the world. That’s part of what I get out of it. For others it’s the extra training through classes at Post Production World. The SuperMeet is a must for many editors. The Avid Connect gala featured entertainment by the legendary Nile Rodgers and his band Chic. Nearly two hours of non-stop funk/dance/disco. Quite enjoyable regardless of your musical taste. So, another year in Vegas – and not quite the ho-hum event that many had thought it would be!

Click here for more analysis at Digital Video’s website.

©2014 Oliver Peters

 

Understanding Premiere Pro Transitions

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Switchers from Apple Final Cut Pro to Adobe Premiere Pro might miss the wealth of inexpensive transition effects offered by third-party and hobbyist plug-in developers. Native Premiere Pro transitions, like dissolves and wipes, can be applied just like in FCP. Drop the transition on a cut and you are done. Unfortunately third-party transitions don’t work this way, leading some users to conclude that they just don’t work or that Premiere Pro is less versatile.

(EDIT: This changed somewhat a day ago, when Noise Industries released FxFactory 4.1.1. Their transitions now are drag-and-drop enabled, just like Adobe’s default transitions. For other filters, like Sapphire Edge transitions, they must still be applied as I outline in the rest of this post.)

df_pprotrans_2The confusion comes, because Premiere Pro filters are based on a similar architecture to After Effects. Therefore, applying third-party transitions in Premiere Pro needs to be done in much the same manner as in After Effects. Instead of creating a transition between two adjacent clips on the same video track, third-party transitions work by creating a transition between clips on adjacent vertical tracks. In other words, not from A to B on V1, but rather A on V1 to B on V2 or the other way around.

Here are some basic tips to make Premiere Pro’s transitions work for you. (Click on any image for an expanded view.)

df_pprotrans_4Start by moving your B clip up one video level, such as from V1 to V2 or V2 to V3. The new Option + Up Arrow command works well in Premiere Pro CC. Extend the end of the A or B clip or both. This should create an overlap of the two clips equal to the length of the intended duration of the transition. Use the blade tool to add a cut on the B clip (on the higher track) at the end of the overlap.

Access your transition from the transitions group of that filter family. This will be contained within the main Video Effects folder, not the main Video Transitions folder. Drag-and-drop a third-party transition effect to the overlapping portion of the B clip.df_pprotrans_3

df_pprotrans_5Open the Effect Controls for that filter and set the background selection and transition direction. Set beginning and ending keyframes or set it to use or ignore the percentage value. Typically a transition goes from 0% to 100% over the length of the clip to which it is applied. Adjust the filter controls as needed. The example that I’ve shown is a Lens Flare Dissolve from the SapphireEdge transitions collection. With this effect, you can tweak some parameters in the Effect Controls window, but you can also pick from a wide range of presets using the SapphireEdge presets browser. Something worth noting is that the unrendered, real-time performance of this effect is somewhat slow in FCP X, but plays very well in Premiere Pro CC.df_pprotrans_6

Although these steps might feel cumbersome to some users when compared with FCP’s drag-and-drop approach, they are more or less the same as in After Effects. They also offer a greater level of control than in some simpler transition implementations.

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(UPDATE: If you are running an older version of FxFactory, there have been conflicts with SpeedGrade CC. Please download the FxFactory 4.1.1 update from the Noise Industries website to correct this.)

©2013 Oliver Peters