Workflow: Editing Head and Tail of Raw footage

I'm new to Premiere Pro. Using CS5.5. I'm shooting 1080i AVCHD footage on site for a production. I burn everything to DVD when I come from the shoot. I copy my footage directly from the harddrive of the camera (Sony HDR XR-200) to my RAID1. I would like to be able to cut the head and the tail of some of my clips once copied to the computer to save a little space and make the clips a little easier to handle. How do I do this? The files are all MTS/m2TS (MPEG-2 H.264 AVCHD subset) I could trim them on the camera but that would be a pain and I'd prefer to be working on my 1920 by 1080 monitor when I'm making those kind of decisions. I thought of Quicktime but it doesn't like the files. I need something quick and dirty. Thx.

There is no quick and dirty way to achieve that. Well, there is one solution: get more and bigger disks. AVCHD is a long GOP format, so changing even a single frame requires re-encoding of the complete clip, causing a generation loss and thus costs you quality. Stay away from QuiRckTime as much as possible, since it is a 32 bit application, that defeats the 64 bit nature of PR.

Similar Messages

Stop Adobe CC transistions adding to head and tail of clips?

Hi All,
Really like the Adobe CC upgrades. One thing I'm not digging is how hitting the add transition shortcut key adds a transition to the beginning and ending of both selected clips.
In cs6, you highlight two clips and hit the transition shortcut and it'll add a video and audio transition where the two clips meet.
Now doing that same action adds a transistion to the video and audio of the head and tail of both clips. Meaning it adds 3 transitions when it used to just add one transition where the clips meet.
Now I end up having to delete the head and tail transitions to keep using the keyboard shortcut to add a transition only where the clips meet. Is there a setting somewhere to adjust how the add transition button behaves?
Cheers,
Jayson

It's also worth getting used to using the track targeting and CTI method. Rather than selecting anything on the timeline:
Target the track(s) you want to work with by clicking the track name to 'brighten' it.
Jump to each edit point using the up/down arrow keys.
Press Ctrl/Cmd-D to apply the default transition.

Looking for Head and Tail burn effects

Anybody know of plug-ins or overlay clips that create the overexposed "roll-out" effect, where the tail of a clip flickers into overexposure? I would also like to find something that burns the edge of the clip to look like it was filmed from a camera?
I found this for AE, anything similar for FCP?
http://prolost.blogspot.com/2006/11/film-burn.html
Thanks
15" MBP, 2.16ghz Core 2 Duo, 2 GB ram Mac OS X (10.4.8)

Cool Animation Preset.
'Course, you could just do this effect in AE, then you'd be done already.

Software to tag and organize a growing raw footage library

Hi all: I am working on some projects and my group has an increasing amount of raw video footage. Are there software solutions that let me tag and catalogue my raw footage and also historical content that has been made digital? What is the best? I have a large amount of space on network drives available. Would it be better to have a large local FW or SATA drive? What solution would be best for a windows user to also be able to access the files over that network drive?
THanks for the info!

http://www.aquafadas.com/en/idive-digital-video/index.php

How to give raw footage shot in AVCHD to wedding clients?

I’ve been living in AVCHD **** for the past couple weeks. I just recently upgraded my old Sony PD-170s to new Panasonic AG-AC90s which record in AVCHD. I mostly shoot weddings and deliver the raw footage directly to my clients. When I was shooting DV, I just gave them the tapes and was done. Now, I’m completely stressed out because I’ve been trying to figure out how to give my clients their footage without worrying if they’ll be able to play it back on their computer without any problems. I’m particularly worried since I’m on a late 2008 Macbook Pro 2.66 GHz Intel Core 2 Duo with 8GB of RAM and the files won’t play back smoothly for me. I need to be able to deliver the footage so that it will play back smoothly on both Mac and PC, even if they’re not as powerful as my own computer.
I went to the Apple Store and they recommended I get a new SSD and a new battery for my laptop. I’m waiting on both and we’ll see if they make any difference. They told me I could use Compressor to convert the files to a more compatible format, but I tried that and it took nearly half an hour to convert a one-minute clip to 720p.
I’ve thought about just burning all their footage to blue-ray so they can watch it on their HDTV, but that would mean buying a blue-ray burner and having no idea how long that whole process would take on my outdated MBP. If I had any luck going that route, maybe I could just give them the AVCHD files on an external hard drive and disclose to them that their computer may not be able to handle playback. At least they could give the drive to a professional editor who would know what to do with it.
I feel like I’m in way over my head. I don’t have the money to buy a new computer right now, but if I have to take out a loan so as to not wind up with unhappy clients, I will. I just have no idea how much of an investment I would need to make to be able to do the transcoding in a reasonable amount of time. The “genius” at the Apple Store didn’t have any great advice other than to tell me to use Compressor. I really need to figure out how to do this in the most efficient and economical way possible. I’m broke, I’ve been living with my parents and I’m just trying to get back on my feet after the worst year of my life in 2013.
I’ve spent many hours over the past two weeks researching these issues, reading articles, posting on various message boards and still not feeling like I’m close to any real solution. Any help would be a tremendous blessing.

If you are giving the clients the raw footage it's best I think to give them the entire media structure from the camera card. Just make a separate folder for each card, call them Joe&Joan1, 2, 3, etc. Drag the complete contents of each card into it's separate folder. Put the folders on an ExFAT formatted jump drive.
That's the down and dirty method, but it depends what the client wants to do with the video, just watch it on the TV or maybe do something with it themselves. If the latter, then the way I described above is probably the safest for giving them the most options on how to deal with it. If they just want to view, most recent systems can play back raw .mts files in H.264, but the client will have to dig it out of the folder structure to find it.

How to disable Header and Footer in MS word with VB code

Hi Tea,
We need to disable Header & Footer in MS word (Restrict user to edit Header and Footer). So we are trying to write a VB code.
What ever code we tried it is not working .
Can you please provide any solution how to diable H & F in word using VB code.
Thank you inadvance.

A relatively simple way to do this without VBA:
Select the body of the document (Ctrl+A).
On the Review tab of the ribbon, click Restrict Editing.
Tick the check box "Allow only this type of editing in the document".
Leave the dropdown set to the default "No changes (read only)".
Under Exceptions, tick the check box for Everyone.
Click "Yes, Start Enforcing Protection".
If you wish, enter a password (don't forget it - you'll need it if you ever want to unlock the document), then click OK.
Save, close and reopen the document. The header and footer won't be editable.
Regards, Hans Vogelaar (http://www.eileenslounge.com)

Slicing and Dicing a RAW cut

Ok, this is a really basic question, but I dont see it addressed in the Adobe Premiere Classroom in a book
I used Capture (F5) to get all the RAW footage from the camera into one big file. I have already set clip markers at the beginning of all the takes. What is the best way to slice and dice the RAW footage into all the different takes that I can place in my sequence?
Sam

The best way is to load the clip in the Source Monitor, add in and out points of the first segment you want, then drag the image in the source monitor onto the timeline. Repeat.
You can create items in the Project Panel by dragging from the Source Monitor to the Project panel.
You will also find links to many
free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro.
Cheers
Eddie
PremiereProPedia (
RSS feed)
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- Over 250 free tutorials
- Maintained by editors like
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Workflow with raw for editing (offline) and JPEG for viewing

Hello,
Up to this point I have been using both Lightroom and Aperture. I do my editing in Lightroom, my raw files are in indexed in Lightroom's catalog. I then export to JPEGs and store them in Aperture for viewing, (internet) export, archiving etc.
I want to switch to a Lightroom-only workflow, so I have both my raw files and the JPEGs in one application, to minimize maintenance (keywords, collections, etc).
The only issue I cannot seem to work around (and also exists in the current workflow) is that if at some point after the initial JPEG export I reedit a photo, I have to reexport, reimport, add to my stack (different versions of the image), update keywords etc etc.
One obvious solution is not to export to JPEGs and keep the raws always available. But this is not local-space efficient.
Any ideas how to handle this?
Thanks in advance

Hi ahalatsis,
I understand the desire for having copies readily viewable outside Lightroom without having to export every time you wanna look at something. I recommend using a publishing service for accomplishing this goal, if not Lr's native hard drive publishing, then my (Rob Cole) TreeSyncPublisher or Jeffrey Friedl's Collection Publisher.
Note: you can take raws offline after publishing, but they must remain in the catalog for editing...
Whether to re-import jpegs upon publishing is an interesting question - I don't do it, in order to keep Lightroom "originals only", so if I see a photo in Lightroom, I can edit it and publish it without thinking. The downside: I have to use other programs for dealing with those exported jpegs (I use ACDSee for that, among others). So, some people like to re-import exported jpegs, and just be careful not to edit the jpegs - personal preference.
There are some (relatively few) souls who prefer to edit raws, export jpegs back to catalog, then remove raws from catalog and archive them "just in case" (editing jpegs from there on out, if need be). While it's doable, and there are some plusses (e.g. making minor tweaks to such jpegs is very fast compared to raws), I can't recommend it, since it's too limiting, and most people shoot raw to be less limited (for example, re-editing 2003 raws using current (2012) process version).
To be clear: photos do not have to be online for viewing (or editing of metadata) in Lightroom - that's what the "lib" previews are for. And you can even create "smart" previews and then photos don't even have to be online for editing in develop module (or exporting/printing at reduced quality) either. They do have to remain in the catalog though, even if offline.
And to be doubly clear: if you don't have enough space on internal drive(s) for photo files, you can just put them on a big external drive in the first place, and never move them.
Cheers,
Rob

Mail rules, edit header list and search full content?

I'm deserately trying to filter my emails.
within the raw source of my emails I want to filter the emails that contain file:/// this is in the body of the email or the html part.
Under
Preferences > Rules > in the drop down menu edit header list, but what should I use to make it search this deep in the mail?
This is an example of the email, and highlighted in BOLD is the area I wish to filter out into a separate email
Many Thanks in advance
Matt
X-MimeOLE: Produced By Microsoft Exchange V6.5
Received: by $$$$$.$$$.$$$
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MIME-Version: 1.0
Content-Type: multipart/alternative;
 boundary="----_=_NextPart_001_01CCCAFD.69599D8F"
Content-class: urn:content-classes:message
Subject: Bulletin Week 19
Date: Wed, 4 Jan 2012 16:25:02 -0000
Message-ID: <0F0A41CBB8261044A318554AA36AAD9C1641760E@$$$$$.$$$$$$.$$$>
X-MS-Has-Attach:
X-MS-TNEF-Correlator:
Thread-Topic: Bulletin Week 19
Thread-Index: AczK/Vmg71BiSfYQRrusUkYifKAcjQ==
From: "Their Name" <[email protected]>
To: "Everyone Else" <[email protected]>,
This is a multi-part message in MIME format.
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Content-Type: text/plain;
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Content-Transfer-Encoding: quoted-printable
Hi All
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Please click on the link below to see the latest news.
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You need to copy the XSL files from
/usr/share/wikid/lib/apple_templates
to
/Library/Application Support /Apple/WikiServer/Themes/custom theme
and then modify default.xsl in your theme folder.
Message was edited by: onisama

Quality of edited vs. raw footage

Hello,
I recently edited together a short video out of clips from my GoPro 3 Black, and then imported that sequence to Encore and burned to Bluray along with the raw footage I had taken. The editing was just cuts, and I layered in a song. I noticed when testing the Bluray that the video quality of the edited sequence is not as good as the raw footage, there is quite a bit of artifacting compared to the raw stuff. Any ideas why this would be? I've done quite a lot of basic editing, but don't really know that much about transcoding and codecs and whatnot.
Edit: I'm not sure that this is useful or not, I don't think it is, but anyways, before I imported my sequence to Encore, I thought I had to export the video from premiere for Bluray, so I did that, but then I found I could just import my sequence in Encore, so I don't think that export was used. At leas that is my assumption.

Stan Jones wrote:
Would the settings you are referencing be the "Default Transcode Settings?" I have Encore set to:
The rest are grayed out and can't be changed, 1440x1080, 29.97, Upper Field First.
The default transcode settings are applied to menus and slideshows. You can specify many other options for assets used in timelines.
The greyed out settings you pick when you create a new project. Then they cannot be changed for that project.
A custom transcode setting can be chosen at any point prior to building a disc. You have access to any preset in AME, and can customize a presets bitrate.

Raw footage went in small and exported HUGE

When I imported my footage from my video camera it was a nice, big still, size. It was approximately 6GB. This is large but manageable. But when I edited it only a very small amount and exported it into .avi format it is now 51GB!
What can I do to reduce this size?
Thanks,
Jay

If you are giving the clients the raw footage it's best I think to give them the entire media structure from the camera card. Just make a separate folder for each card, call them Joe&Joan1, 2, 3, etc. Drag the complete contents of each card into it's separate folder. Put the folders on an ExFAT formatted jump drive.
That's the down and dirty method, but it depends what the client wants to do with the video, just watch it on the TV or maybe do something with it themselves. If the latter, then the way I described above is probably the safest for giving them the most options on how to deal with it. If they just want to view, most recent systems can play back raw .mts files in H.264, but the client will have to dig it out of the folder structure to find it.

Color managed workflow for web and camera raw

I recently calibrated my monitor and was wondering what is the preferred workflow for the web? I shoot with my camera in sRGB and my working space in Photoshop is sRGB aswell. The problem that has arised now is that the color managed colors in Photoshop are way different than the non-color managed in my web browser. Is this normal? And what I don't quite get is how a photo that has an embed sRGB profile looks the same in Firefox (that understand embed profiles) and Photoshop, but in Google Chrome (that does not recognize embed color profiles) shows the colors very differently, although the browser should understand the photo is in sRGB by default and show the same colors that are in Photoshop, right? So what happens here, because the colors are not the same? What information does Photoshop assign to the embed color profile that makes the colors so different?
Anyway, I assume the problem here seems to be my newly calibrated monitor profile. The only way I can get the same colors to my photo in Photoshop and to a photo in web is to use soft proofing set to my Monitor RGB AND save without a color profile. Is this the way to go? But here comes another problem. I shoot in RAW and use camera raw to edit my photos. Camera Raw doesn't allow soft proofing, so I'm stuck with these color managed colors that are so different from non-color managed colors I get in my browser that any color correction in Camera Raw is simply useless. Unless everyone was using color managed browsers and I could start to use fully color managed workflow, but that's not the case I suppose. So, what's the solution here?

First off, you need to be working in sRGB, or converting to sRGB when you save out files that are destined for the web. You can change the color space that Camera Raw (ACR) send your raw files to by clicking the blue text in the bottom center of the ACR window. This is probably that safest workflow for you until you get a handle on color management. If the color of your images is very important, you might consider embedding a color profile in them, which will help color managed browsers render your color properly.
If your display's color gamut is different than sRGB (many are), you'll find matching colors for non-color-managed browsers to be impossible. But consider the average display and take heart. The best you can do is correct to a standard and hope for the best.
Both the convert to sRGB and embed color profile options are in the save for web dialogue box.
More about the ACR workflow options here:
http://help.adobe.com/en_US/Photoshop/11.0/WS739D7239-24A7-452b-92F9-80481C544F25.html
More about matching colors for the web:
http://help.adobe.com/en_US/Photoshop/11.0/WSB3484C68-ECD2-4fa4-B7CC-447A5FE86680.html
http://help.adobe.com/en_US/Photoshop/11.0/WSD3F5E059-4F51-4b44-8566-13B854D3DF5F.html
http://help.adobe.com/en_US/Photoshop/11.0/WS0B3CD652-4675-44be-9E10-445EB83C60BA.html

Storing/Managing all the raw footage and all the completed videos

The iMovie '06 instructional video on the Apple pages mentioned that after we edit out our video and it is complete and ready to be viewed, we can upload it back into the camcorder so that from there the video may be viewed on a TV etc.
This reminds me of something that I thought about a while back and which has to do with keeping copies of our work. My thinking is to put the iMovies into my website but I CAN see my wanting to play it on my 50" TV.
Questions, then:
1. If you upload your finished video from the Mac back into your camcorder, then in fact you have a copy right there. So then, DO YOU STILL KEEP THE ORIGINAL CASSETTE OF RAW FOOTAGE AS BACKUP, JUST IN CASE?
2. In what order would I save to cassette etc if I would like to upload the video to my website AND keep the finished copy in a cassette in my closet as well as in my external hard drive? I ask because I recall earlier that at a certain point, one cannot do certain things with the video. I wish I could recall what I had read.
3. Here is what I would like to end up with:
a. The video on my website
b. The complete video in a cassette so that I could play it on TV if I decide to.
c. The complete video in my external hard drive.
d. And actually, WOULD you retain a cassette with all of the raw footage? Or in your external hard drive?
And the final question is:
HOW DO YOU ARRANGE ALL OF THESE BACKUPS AND COPIES IN YOUR EXTERNAL HARD DRIVE? I am foreseeing options that I can't answer.
For example, do I keep all raw footage in one category, and then all completed video in another category?
Or do I keep things divided up by the particular video itself? By that I mean, do you segregate your backups by all of the raw footage and finished video for TRIP TO ALBANIA, all raw footage and finished video for MARTY'S BIRTHDAY PARTY, all raw footage and finished video for GHOSTS IN THE GARAGE?
And that's just talking about the video clips that you keep INSIDE your computer.
Thank you for your thoughts.
Lorna in Southern California

Ohh and another thing!
to archive give the dvd_img or video -ts folder a
title, that way its easy to find it if you use as
videodisc with front row Elgato eye tv or equinox
catagorice as fiction drama cartoon explsit andson
andson...
Dear Kjolner.....
I'm afraid I am lost with your replies because the terminology in the answers are beyond my understanding. When you say that you save something to tape, do you mean, "back to that same small cassette"? I do not know what an .img file is. I am not clear on saving "small segments" on QT. I would not know how to do that, anyhow. I do not understand what a video -ts folder would be. <gulp> <<double gulp>>
I DO have Tiger and will buy the next one up when it seems safe to do so.
I recently bought a LaCie 500 gigabyte external hard drive to store everything and lighten up my iMac internal hard drive and make it faster. I had to buy that external HD because while attempting to upload my footage from my Sony digital video camera recorder DCR-TRV 11, my iMac sent up messages that I had insufficient space for the activity.. something to that effect.
Lorna in Southern California

Hi please can you help me. I have photoshop CS5 extended, I bought a new camera Nikon D610 I want to edit my photos adobe camera raw , but when I try to open photoshop CS5 it will not open. Please can you tell me how to download and install the camera raw

HI bought a new camera Nikon D610 , I am using adobe photoshop CS5 extended, I want to edit my photos in camera raw but it is not possible to do so . I need to download camera raw plugin for CS5 can some tell me how to do so or if there is a link for the camera plugin.
Many thanks Pitt.

For that Nikon model you need ACR 8.3 that means CS6 or CC. Or you can download the DNG converter convert your Nikon RAW files to Adobe RAW files. And then process the Adobe RAW files with CS5 ACR version 6.7
Camera Raw plug-in | Supported cameras

I shoot .nef with a D800e and am learning to edit these in Photoshop Camera Raw. How to save edits?

I shoot .nef with a D800e and am learning to edit these in Photoshop Camera Raw. What is the best way to save for viewing and printing and sending to friends on a DVD? (TV viewing) If I save edits as a tiff or jpeg does Photoshop remember the edits if I open the .nef picture again? Do i really need three versions of each picture? jpg, nef and photoshop raw, or what?? I have several thousand .nef and to convert to a photoshop raw format would take much disk space and yes I have three external drives of 1 - 3 TB.
What is my best practice?

For that Nikon model you need ACR 8.3 that means CS6 or CC. Or you can download the DNG converter convert your Nikon RAW files to Adobe RAW files. And then process the Adobe RAW files with CS5 ACR version 6.7
Camera Raw plug-in | Supported cameras

Workflow: Editing Head and Tail of Raw footage

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