Best workflow for colour grading in CS5.5

What is the best workflow for colour grading in Premiere Pro CS5.5? I don't like the 3 way colour grader in Premire I like to use Levels and Curves, so I normaly use Color Finese 3 LE in After Effects but it's hard to export an entire timeline to AE due to it not improting transitions and title text correctly.
I see in CS6 there is now Speed Grade available from Premiere Pro. can you export your entire timeline into Speed grade and it retain your titles and trasitions?
So how are most folks colour grading their finished timelines in Premire Pro?
Kevin

If I can CC in Pr, I will. What prevents me from staying in Pr is if I need to do a lot of masking, secondary type corrections. Ae is better for that, IMO.
I guess my general rule is, "The more love I need to put on my footage, the more likely it is I'll need to take the project to Ae."
When I do CC in Pr, my tools of choice are RGB Curves (which is CUDA friendly, and I have a CUDA card) for CC, and I use Three-Way or Fast CC mostly for increasing saturation. I leave the other controls alone.
The advantage to doing CC in Pr, is the CUDA accelleration. If you use CUDA effects, you can work a lot faster, due to less rendering. Once you go to Ae, you lose CUDA, but you gain flexibility. Therefore, there's not a single one-size-fits-all answer.
I also have a lot more available plugs in Ae. I like Frischluft Curves, which is an oustanding curves based plug. And the native Hue/Saturation effect in Ae is extremely useful for single hue corrections. Pr doesn't have a similar native effect.
And then as a last step, after getting all my corrections "evened out," I'll add Magic Bullet Looks to an adjustment layer for an overall treatment.
I only opened SpeedGrade once after installing it. I don't see why anybody would use it, unless they were already familiar with it. You can't go back to Pr easily. And in my world, projects are rarely finished. Clients think they can make massive changes at any stage of post, even after mastering and delivery. I've had clients make changes to spots after they've been airing for several days. I laugh at editors who name anything "final."

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Workflow for colour grading PremiereCS5 with Colorista2

I'm one of the only humans on this planet who doesn't use After Effects but my excuse is that I work in production, not post, so please excuse this question if it's the equivalent of asking how to focus.
I'd like to use Colorista2 to grade a 5min PremiereCS5 project. Colorista2 is only about 70% functional in Premiere right now but it seems to be working much better in After Effects and since I have the CS5 Production Premium, I should be able to grade in After Effects right?
I've read much of the help files related to Dynamic Link but I need some help with the workflow. If I File/Import/Premiere Pro Project all the individual clips but not on a timeline. If I File/Adobe Dynamic Link/Import Premiere Pro Sequence the timeline shows up but all as one clip on the After Effects timeline. I've tried posting to the Premiere forum without success. What would the proper workflow be for colour grading in After Effects?
Much thanks in advance.

Ahhhh....found it. I didn't see the Premiere sequence converted to a composition as it was burried 3/4 of the way down the stack.
I graded the first dozen shots or so of the sequence with Colorista2 and then used File/Export/Adobe Premiere Pro Project, saved it as Filename_Graded, then opened it in Premiere. The shots that were all on a single video track were now scattered over six but they played back correctly so I guess that's not a big problem. The real problem is that while the graded clips show that Colorista was applied to the clips, the adjustments were't applied. All the settings are nulled out.
My question now is: Is my workflow correct and this is an issue with Colorista2 or is there a way to have the Colorista2 settings make their way between these two programs?
Thanks in advance.

Best workflow for colour correction?

I’m still new to fcp and Iv e just started using the colour correction tools. I haven’t looked at color (part of the final cut studio yet) this may seem stupid but what’s the best workflow? After I’ve cut every thing and then go though it one clip at I time it seems a long-winded way of doing it as some of my cuts are only a 6-15 frames.
Dose every one else colour correct their clips before starting to cutting the footage?

You always color correct after...and you always do each shot individually, even if they are 15 frames.
Color is a highly professional application, I suggest getting a tutorial for it. Or learning the 3-way color corrector to start...to get your feet wet with color correction. Because Color is VERY deep and has many many controls that can be intimidating.
http://www.amazon.com/Apple-Pro-Training-Encyclopedia-Correction/dp/0321432312/r ef=sr11?ie=UTF8&qid=1238509072&sr=8-1
http://store.creativecow.net/p/66/stopstaring_and_start_grading_with_applecolor
http://www.amazon.com/Call-Box-Digital-Correction-Workflow/dp/B000UZUL3Q/ref=sr115?ie=UTF8&s=dvd&qid=1238509138&sr=8-15
Shane

What is the best workflow for Final Cut Pro X across multiple computers?

I travel on a team that is in a different location every week, so all of our video editing has to be fairly moble. We have 3 macbook pros and would like to use final cut X on all of them. What would be the best workflow for us all to work on the same project and sync it across the computers? (eg, one of us editing the footage, one editing the sound, one working on visual effects?)

My first question would be how well 5.1 would work with SL. People have reported problems.
As far as cameras are concerned, I would guess most any tape-based camera would work and so much depends on the kind of projects you work on that I wouldn't want to start guessing at your needs.
If you want broad access to tapeless and advanced formats try to locate and purchase an upgrade disk to 6 or 7.
Good luck.
Russ

Best workflow for working on a project on two computers (i.e desktop and a

What is the best workflow for the following--
I have a project where I want to do some work on my laptop, then work on the desktop, then back to the laptop?
As a video guy, in Final Cut I do this by having two identical copies of my media, and simply transferring the FCP project file back and forth between the two computers.
Is there an equivalent in Aperture of transferring your selections/edits between two copies of Apeture with the original master files on both in identical projects?

I don't know what you mean by "bandwidth options". If you mean the frequencies and bands the iPad can use with cell carriers, those are listed in the Wireless and Cellular area of the tech specs. For iPads sold in the US, see:
http://www.apple.com/ipad-mini/specs/
If that's not what you meant, please post back and clarify what you mean by "bandwidth options".
Regards.

Best Workflow for Multicam Sequences?

I have a project that includes video from 2 cameras and audio from 2 audio recorders. I synced everything up using PluralEyes, then imported it back into Premiere. Then I opened the synced sequence, deleted the camera audio, nested the video, and enabled multicam. After that, I started going through and editing the multicam footage by selecting the appropriate camera by pressing 1 or 2 (or command-clicking on the appropriate camera in multicam view). My question is, now that I've synced everything up and finished my rough multicam edits, how do I mark the selections of the sequence that I would like to keep?
For example, part of the sequence is an interview. Instead of just cutting the sequence up, I would like to first mark and label the portions of the interview that I would like to keep. That way I can easily go through and know what the interviewee is speaking about in each clip without having to play the whole thing. I understand that to do this on the original clips in the source monitor, I would need to create subclips. But how do I do it on a synced multicam sequence? Is there a way to open the sequence in the source monitor? What's the best workflow for something like this?
I've been using Premiere for all of two days (switched from FCPX), so any help would be much appreciated. Thanks.

I use comment markers for this sort of thing as I prefer to keep my project bins thin. To open a sequence in the source monitor, right-click on the sequence in the project window and select Open in Source Monitor. Position the play head at a point of interest and press M. Go to Window>Markers to view a list of markers and add comments. When you want to review a marked section click the corresponding marker in the marker window and the play head will advance to that point. Btw, you can do this within the timeline and in any monitor, not just the source monitor.

Best workflow for doing a QC check?

Hi all,
A client wants me to do a technical QC check on video files I receive before editing them. The items they want checked are as follows:
o   File format (GOP structure, bitrate, wrapper, codec, chroma subsampling)
o   Macro blocking
o   Artefacts induced during transfer from VT, frame rate conversion, size or bitrate conversion
o   Field dominance issues
o   Chroma/luminance levels
o   Aspect ratio discrepancies
o   Flashing/strobing
o   Frame slicing
o   Audio levels to EBUR128 recommendation.
o   Wide dynamic range
o   Audio distortion, clipping, phasing and dc offset etc
Most of these are fine, as they can be spotted during manual playback. But what would be the best workflow for monitoring the Chroma/luminance levels? I figured I could turn on the YC waveform and play the clip back through a monitor - but the main issue is keeping an eye on both the picture & the waveform at the same time.
Can the scopes be set to give me a indication/alarm when a specified peak occurs? The same way audio does when it clips, where you get a red dot on top of the level meter?
And is there anything else Im overlooking?
Thanks in advance - cheers!

Thanks shooternz,
The client has specifically requested each file be QC checked. They will be delivering files to us for editing, which will be broadcast after we return the files.
So we need to manually watch each video we receive to check for any audio peaking or pixelation/slicing/artefacts, etc, that may have occured during the enciode - but I'm just wondering if the YC waveform can be set to raise an alarm or "peak" if the video file goes outside of legal limits at any stage. We will be viewing the video file - so it'll be awkward to also have to try to watch the YC waveform too, so hoping that part can be automated via a 'peak alarm' or similar!

Best Workflow for Deleting?

Hi Folks.
Would anyone like to suggest the best workflow for deleting files after a project? Let's assume that i have no future need for any of the captured footage or PE7 files. It would be helpful to know what the default locations are for all the footage and files that are now on my computer.
Thanks, Stan

In my book I recommend that, whenever you start a new project, you create a new folder for it. That way, all of your captured video, project files, rendered video and scratch files are in the same folder. Removing it all from your hard drive is as simple as deleting the folder.
If you didn't do that, things get a bit more complicated. Once you've backed up what you want to keep, you can manually delete the captured video, rendered files, etc., from the sub-folders -- but you'll need to do it manually. Hopefully the files will be recognizable by the names you gave your project and capture files when you created them.

Best workflow for creating logsheets before ingesting.

I'm looking for the best workflow for creating detailed log sheets of my avchd footage before ingesting/transferring it to FCP. I have many hours of footage shot with my Sony NX5U and only want to ingest the necessary clips. I'm using FCP 6.5 on a MacPro tower. Thanks.

>I'm using FCP 6.5
NO you are not. You might be using FCP 6.0.5.
Well, the only way you can ingest only sections of tapeless media is by using Log and Transfer. And you cannot Log clips first, and transfer later. You cannot do the same thing you did with tape, make a Batch Capture list. So you would look at your footage in the FCP L&T interface, and you can send one to be transcoded while you move onto the next one to watch. That can happen at the same time.
But, there's another issue here. The Sony NX5U uses an AVCHD format that is slightly different than normal...not that there is a normal. But I discovered that importing clips up to 10 min in length work fine, but anything over 10 min, and it took 4-5 times longer to import. meaning a 30 min clip took just over two hours. It was something that ClipWrap2 addressed before FCP did...and they only addressed the issue with the FCP 7.0.3 update. FCP 6.0.5...or even the last update for that version, 6.0.6, doesn't address this. There might be issues in importing this footage into FCP 6.
And the other options...Avid Media Composer and Adobe Premiere...don't have a "log and transfer" type interface. They bring in the full clips only. With Premiere, you are stuck with them being full length. But with Avid, you acccess the footage via AMA (Avid Media Access), and then you'd make your selects on a sequence, and then consolidate/transcode only the footage on the sequence.
And no, there's no way to make a logging sheet for these apps either.
The best you can do is watch the footage, note the timecode, and manually enter those numbers when you go to bring in the footage.

Best workflow for burning Blu-ray and DVD

Hi,
What's the best workflow for effciency sake for burning both a Blu-ray and a DVD of the same project?
Essientially I'd like to export and create a menu once, then be able to downrez to DVD. However, I'm not sure that is possible since blu-ray and DVD are differnt codecs.
Thank you

The only way that you can get acceptable re-scaling of menus is to go from BR to DVD, and do the editing in Photoshop. Simply re-scaling the menu here will not give acceptable results.
I usually copy the various button layers from the BR menu to a new DVD menu file created using the provided Photoshop preset. You will still have to do some manual re-scaling and alignment. The thing that has given me the most trouble over the years is round button highlights - a segment is often chopped off. Font sizes will probably need adjusting too.
Unless you are adept with handling layers and groups within Photoshop, it may be easier to start again.
Any attempt to convert within Encore is unlikely to produce acceptable menus in my experience.

Best workflow for creating games for pc and starling games in AIR

best workflow for creating games for pc and starling games in AIR.
I need to develop for tablets with starling and AIR as well as for pc without starling ie: downloading from a server.
In starling you have to
1. instantiate starling
2. use texture atlases for loading graphic assets - well its the recommended way
3. use juggler
etc...
ie: with all these differences is it best to:
1. create completely different projects
2. just create different classes for the starling specific parts
3. use a conditional compile constant
    eg: CONFIG::STARLING
            "then do this"
or      CONFIG::CPU
          "then do this"
I currently have the latter but it feels a little messy. I would prefer separate classes for each platform where the image loading is concerned.
There must be so many game developers out there but in large gaming companies that know exactly what to do. Perhaps you can point me in the right direction with a book or something.
CHEERS

The other thing is that I can't see the games being very different as you suggest. I have downloaded Lee Brimelows tut on creating a starling game on Lynda.com and the code is great for creating games using states for menu, play, gameover etc... The only difference is that he uses texture atlas and there is a great difference in loading them etc... so technically you would only need to handle them in a different class as collision and the rest of game play should be the same in both. I think!!!
Well, actually not exactly but near enough - maybe it might be easier to create separate projects and just cut and paste the new code introduced.

Multipage forms- best workflow for future editing

I'm struggling with understanding the proper workflow for creating and editing multipage forms. I need to create a medical history form (PDF) where patients can enter their medical history and patient info.
This form is usually 6+ pages. Each page has a header (logo and office address) and a footer (page number).
The problem I'm running into is when we need to make a change like add a question or change the wording of a question. Is there a way we can edit the form (either in Word or an Adobe product) and not have to recreate the form in Acrobat Pro?
I've hired contract workers from Odesk and each one I've hiried claims they can edit the questions after the form is created. But each time this happens, the form looks worse after each edit. I'm pretty sure this is the problem because they are editing the text in Acrobat Pro, which has very limited text editing capabilites.
I'm wasting so much time going back and forth with contractors explaining to them that the text format looks like crap.
I'm very capable of designing and editing these forms myself, but I just don't have the time. So I'm contracting this work out.
I'd greatly appreciate any advice on the best workflow for PDF forms.
Thanks!

Yes, there is a way. You need to edit the original file format (Word, in
this case), and then create a new PDF.
You then open the old version (that has the form fields in it), and use the
Replace Pages command to replace the old pages with the ones from the new
file. This will maintain the form fields in place, although you might need
to rename them and align them with the new page contents.
This is a much better approach than trying to edit the PDF directly
(although this option has been greatly improved in Acrobat XI).

LaCie 324i for colour grading through display port

I'm in the process of getting rid of my iMac and getting one of the new Macbook Pro Retinas. Reason being I need to go mobile and the two thunderbolt outputs mean I can run a pair of external monitors.
I'm a video editor and I want to start learning the final part of post production that, so far, I've never touched; colour grading. I am not a geek when it comes to kit (I'll start learning the science and art of grading now, learn about hardware later haha).
My plan is to hook up my cheap 24 inch monitor to the macbook retina just for more real estate and get a LaCie 324i monitor for firstly again more real estate but secondly so that one of my screens is up to the job of grading. The software I'll be using is DaVinci's resolve lite and Speedgrade (when I upgrade from CS5.5 to CS6).
Am I missing anything here? The LaCie monitor is 96% gamut of adobe RGB and is 10 bit. When using display port as far as I know it allows you to actually be running at 10 bit (which as far as I know is whats the basic need for a cheapish grading monitor). The other monitor I was looking at is the Eizo Coloredge CG223W.
Anyone know if these monitors will do the job for me (the Eizo is a good 400 quid cheaper but the LaCie has some different inputs..."Component x1 (3p RCA jack female"...whats that?)
Will a Macbook retina, one of those screens and resolve/speedgrade get me grading with the only hold back factor being myself and skill??? Is there anything I havnt thought of. I can probably budget about 1000 GBP for the monitor...
Cheers everyone!

Just been researching a bit;
If I use the LaCie monitor I have the choice of using either the display port input or the componant inputs.
Is it best to just use the display port input or buy something lie;
http://www.blackmagicdesign.com/products/intensity/
to be able to use the componant inputs...?

Best workflow for DSLRs and Speedgrade / Premiere?

Can anyone suggest a workflow for DSLR footage using Premiere and Speedgrade? I would like to be able to roundtrip and do a light grade on clips and sequences before completed the offline edit. Is this possible? I know in the video tuts it seems to work for Red footage, but I couldn't get it to work for me with my 5d mark iii footage. It's all new to me having recently switched to Adobe from FCP and also to DSLR from camcorders. Thanks

Speedgrade isn't designed to go pre-edit, so right now there's no dynamic link with the other CS6 apps. It's intended to sit post-edit in a classical film studio workflow, with Sg ingesting only the final edited frames and exporting your production masters.
If you "send" a Premiere Pro sequence to Sg you will render out a single DPX image sequence (including effects and transitions, and without any references to edit markers or original filenames) and so importing that back into Pr would flatten your entire timeline to a single clip. Any changes to the Pr timeline and you'd have to do it all over again.
You can export an EDL from Pr and use that in Sg to read the native footage (provided it's compatible*), but grading is not stored into the original files so it won't re-appear in your Pr timeline unless you manually re-import.
If you want to use Sg pre-edit, the options are:
Grade all your footage before ever touching Pr, export everything to lossless video or image sequences and work with those, forgetting about the original files completely (you'll need a bunch of disk space and hopefully a MOS shooting pattern, as your audio will be split out).
Grade a sample of every clip you're using, then save a Look for each one. Export the Looks as 3D LUT files (.cube) and use a plugin to apply them to your clips. Right now there's no official plugin for Premiere (Magic Bullet LUT Buddy isn't certified past CS5) but After Effects can apply both the .cube and the .look files via the "Apply Color LUT" effect. Note that some changes in Sg are not included in the Look, such as the choice of color space and tone curve, so what you see in Sg may not be what you get back in Pr.
I'm not downplaying the abilities of Sg, but it's a colorist's tool and doesn't sit very well in the CS6 unified concept of "one person can make a movie". It helps to think of it in terms of the union system in Hollywood - an editor never grades and a colorist never edits, so their tools look completely different, work completely different, and the electronic conversation only goes in one direction.
*Sg was designed with digital cinema in mind so it doesn't work with interlaced footage, plus it generally assumes you're feeding it log so be careful when picking defaults. It's one occasion where something like the Cinestyle fake-log profile for Canon DSLRs comes in handy.

Best workflow CS3 to CS4 to CS5 or CS5 to CS4 to CS5

I had been doing a monthly magazine in Mac CS3 and sending it for text edits to someone with Mac CS4. They would return it to me as an .inx doc and I would prepare it as PDF for the printer.
Now that I have CS5, Would I be better off doing it in CS5 then giving them .inx to do edits?
So what's best?:
CS3 to CS4 to CS5
CS5 to CS4 to CS5
CS3 to CS4 to CS3
TIA

I had been doing a monthly magazine in Mac CS3 and sending it for text edits to someone with Mac CS4.
Text edits? Only text?
How about CS5 -> RTF -> CS5?
Just set up your text as one great big threaded, well-styled story, and export the RTF. Your editor edits text using TextEdit (how apropos), and returns the edited RTF file to you. You place it & clear overrides, and magically have an updated InDesign file requiring only minor tweaks. (We call this "poor man's InCopy" in our office.)
If I had to pick, I'd be dithering between unhappy options. Going backwards (CSn -> CSn-1) is a bad idea. Going forwards two versions at once (CSn -> CSn+2) is also a bad idea. Heck, in any workflow you want to be reliable, going forwards one version (CSn -> CSn+1) is dangerous and should be avoided. I would suppose that CS5 -> CS4 -> CS5 would be the least dangerous, if you made absolutely certain that no CS5-specific tools were being used. This requires some serious diligence, and even if you are 100% perfect in your avoidance of the new tools in CS5, text reflow will still happen occassionally. On top of that, I wouldn't advise relying on CS5 until the first bugpatch gets distributed by Adobe.
Basically, every option you have is fraught with possible dangers.
Edit: it's tough to tell someone to do something dangerous. CS3 -> 4 -> 3 is something I've done a great deal of, and it's worked out okay. Over more than a year, I've only had two projects blow up in my face because of backsaving in this workflow.

Best workflow for colour grading in CS5.5

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