Workflow Prelude-Premiere-Speedgrade

Hello,
I'm trying to arrange a workflow using Prelude to create subclips from original footage, send the subclips to edit in Premiere, then exporting in Speedgrade to grade and 3d adjusting (I'm working on a stereoscopic project).
My problem is that if I use sublicps that have different names from the original source clips, I cannot relink in speedgrade because it needs name matching between reels and file names.
I have to manually relink every reel to corrispondent clip checking the file name in PPro....
Any suggestion? (other than not using subclips in PPro but original footage...)
Thank you
Stefano

I reply to myself....
The correct workflow is not to send the clip from Prelude, but import it from media browser in Premiere, this way I have into project the source clip and the subclips created with Prelude in this form Nameoftheclip.nameofthesubclip
If I use the subclip in timeline Speedgrade can reconnect the reels and sources (even with left and right channels in case of 3D)
Hope this is useful for someone else :-)
Stefano

Similar Messages

Bridge/Prelude/Premiere/Encore, Arrrgh! Workflow/Asset Managment overload! Help.

I've been viewing a tutorial series in addition to some random one's on the web, mostly covering functionality, but what isn't clear to me (yet) has to do with asset management and workflow. I know enough to understand that these two areas are the most important aspects of the whole process; without organized asset management and an orderly, systematized, hierarchical approach to accomplishing tasks the creative side of things will suffer dramatically at the worst time.
Regarding asset management, I have three separate drives for for audio, video, and stills. All the files reside in their original locations except for video files that I originally had stored on my stills drive. These video files were copied to my video drive into the Adobe Folder> Premiere Projects Folder> Project Name Folder. In addition, I have a folder on the video drive called "Raw Footage" that I'm using for random footage unrelated to any project; sort of a personal stock footage resource.
As a practice project for the tutorial series I'm using assets from a 45 day Rail Pass tour I took a few years ago. Assets include SDDV. m2ts, and mov, files with different sample rates, in addition to jpg and psd files.
Where would the following programs come into play and at what point in the workflow does the transition from one to the other begin and/or overlap?
Bridge
Prelude
Premiere
Encore
Where does Bridge come into play and when?
There are folders with m2ts files on my stills drive that I've copied and pasted to my video drive. Should I have used Prelude to ingest and "Transfer Clips To Destination" ("destination" being my video drive)? Should I have transcoded to a less resource hungry format and, if so, does Prelude create an EDL that can be used to conform the final edit replacing the low rex clips files the the original higher rez files?
I know I have to capture SDDV as DV (not HDV) with Premiere but what else do I need to know about such capture? As far as actual editing goes the tutorials are covering a lot of that.
Eventually I'll use Encore to author a proper DVD that is compatible with every DVD or Blu-ray player. Right?
I guess the question could be, "What is yout multi asset workflow?"
I feel like such a noob.
Thanks.

Michael,
I thought that might be the case. Sigh!
Well, as far as I can tell, if I were you, I would offer it with an alI I-Frame option first. That would probably be the easiest to implement cleanly. Those who can shoot that way would probably start shooting that way. Me included.
Then, take the AVCHD from a few of the most popular cameras, Canon, Nikon and of course, the Panasonic DMC-GH3 (my camera) and whatever video cameras are popular right now. Back up to the beginning of the long GOP and finish at the end of the long GOP. There is no need to get too specific with frames for subclips. After all, anyone who does not leave handles on their subclips while ingesting gets what they deserve anyway. In fact, there should be an option to always add one second of handles to every subclip. Personally I would leave that on as a default.
As for me, I recently posted a few videos using different codecs for people to download to test them. The links can be found in this forum post along with a short discussion: http://forums.adobe.com/thread/1239519?tstart=0
I usually use 50Mb/s 60p using the MOV format, but if I was to shoot anything serious, I would probably shoot 72Mb/s 24p. Keep in mind, that if Adobe made it possible to ingest subclips without transcoding,I would change what I shot to all I-Frame for almost everything, either at 30p or 24p. And if you did it for my 60fps MOV files, I would be ecstatic.
I don't shoot AVCHD but I suppose that so many people do that the moment you gave the feature to all I-Frame shooters, there would be a huge clamor for AVCHD.
In my opinion, this could be a major game changer and everyone who could would start using Prelude without a second thought. Like photographers are flocking to Lightroom 5, this would be the videographers Lightroom. Reelroom? Naw. Prelude is a good enough name.

Offline to online workflow in premiere pro

Can anyone tell me how to do an offline to online workflow in premiere pro similar to final cut pro 7? See this video https://www.youtube.com/watch?v=4xzOqmQq7bo

Let me know if this makes sense.
Not at all, I'm afraid. By that I mean I understand the process you describe, but not your desire to do it.
You can never get better than the original footage, so transcoding to ProRes after editing makes no sense at all. One might do that before editing if their computer couldn't handle the native media, but...you've already done the editing.
Using Direct Link to SpeedGrade, you can easily work with the original media. This is the faster, easier work flow, and will produce identical end results.

Best workflow to produce a film with Premiere/Speedgrade?

I am relatively new to using speedgrade, as the color controls in Premiere have always done the trick for the smaller DVD or web based videos I have been working on. But I am going to be working on a much larger project that has a huge amount of footage. So I am going to use Speedgrade a lot more and need some workflow recommendations.
The short question is "When do I use Speedgrade to color correct and color grade my project?" In some ways, color correcting sounds like it should be done right off the bat, then color grading perhaps later when the final cut is about secure. However, sequences with things like multicam clips will go back and forth during something like a dialog and I will need to edit essentially one camera's footage in entire for that sequence rather than each individual clip cut I use in the sequence. So there, it seems to make sense to color correct/match/grade before I do the edit.
Correcting everything and/or doing color grading before I do any editing doesn't seem to make much sense since I would be editing a lot of footage I likely won't use in even the rough cuts, let alone the final draft.
So I'm looking for some advice from pro/indie film makers or people who have dealt with large projects with hours and hours of footage in dealing with a workflow for color correction and color grading. Can anyone give me a good strategy and workflow here? Thanks.

See the "huge caveat" mentioned in this thread:
http://discussions.apple.com/thread.jspa?messageID=2105598&#2105598
Karl

Roundtrip workflow from Premiere to Speedgrade to Premiere?

Hi!
I see how to bring my project from Premiere to Speedgrade. But how do I continue working with Premiere and see the reflected grading?
So, changes made in Speedgrade, don't update the look or footage in Premiere?
Thanks
Max

Check the Pan & Scan module for custom output settings:
http://helpx.adobe.com/content/help/en/speedgrade/using/adjust-framing-shots-pan-scan.html
eeaumen wrote:
I would also like to go back to premiere so I can export 2.35:1 with DSLR files. I cannot find a way to do it from SG.
Pat

Multi-camera AVCHD editing workflow in Premiere CS4

I have a client project that has me wondering what workflow to use and I someone on this forum probably has the expertise to know the right solution. My requirements...
1. Client is recording a scene using 4 cameras at once, like a live TV show is shot, all AVCHD footage, 1920x1080px 17mbs, square pixels.
2. I must playback in Premiere the 4 video streams in real time and choose one camera to output, like a director would switch a live TV show. So, all 4 streams are playing in Premiere's multiple-camera editing windows. Each show I'm editing is about 1 hour long. The advantage of multi-camera editing of course is I can play all 4 cameras at once and live switch between them in Premiere to arrive at a 1 hour show in 1 hour of editing time.
3. Until I can upgrade my hardware that can possibly handle 4 streams of AVCHD, I'm stuck needing a workflow to convert the original AVCHD to some lowres format, edit those offline low res copies to get my edit decision list, and then reconnect the online HDV AVCHD clips to export through Media Encoder for a final production. My output format is Flash F4V 640x360 px square pixels for Internet playback.
4. Hardware: I'm running Windows 7 RC using CS4 Premiere 4.1, 4gb RAM, 2.4ghz dual-core processor with 64mb Intel turbo boost on a notebook PC. I do have 4 hard drives to hold each camera's footage on its own drive, and a fifth drive to ouput the edited version to, in addition to a drive to hold my OS and Premiere. The external drives are connected via eSATA to the notebook.
Question 1: what do you suggest as the lowres format I should convert my AVCHD footage to for multi-camera playback/editing in Premiere?
Question 2: do you think it's even possible to buy a desktop PC that can handle playback of 4 multicam AVCHD native format files in Premiere in real time? I'm concerned this may be too much for even the most powerful systems, and I would need to resort to editing lowres footage even with the most powerful desktop. As you know, decompressing one or two AVCHD streams is taxing to a PC so 4 at once is a challenge.
Question 3: an alternative workflow would be to feed live video out of the HDMI connectors on the cameras into four HDMI capture cards (Intensity Blackmagic) and capture uncompressed HDV bypassing AVCHD compression altogether, but the disk space required would be substantial. Does this make sense? I've even considered feeding those 4 HDMI feeds into a video switcher between the cameras and PCs but the cheapest solution I can find that can provide genlock (frame sync) between the 4 cameras for clean glitch-free switching is quite expensive, thousands of dollars invested.

I must playback in Premiere the 4 video streams in real time
Good luck with that. Many folks have trouble with even one stream.
edit those offline low res copies to get my edit decision list
I'm not sure offline editing with AVCHD will be possible because of the folder structure. You may not be able to 'replace' the lower res copies with AVCHD.
My output format is Flash F4V 640x360 px square pixels for Internet playback.
Oh, man. Shooting HD of any flavor is just overkill that adds unnecessary work to the process. Have your client shoot in DV.

Workflow Questions - Premiere on Mac - for FLV file

Hi.
I want to add subtitles to an FLV file using Premiere Pro. I'm working on a Mac.
I know that I can't use the FLV so I would have to convert the FLV to an intermediate format first. Then Import that into Premiere, add the subtitles, render and convert back to FLV.
So my question isn't directly associated with Premiere, but I would like to know what you guys would recommend as far as the workflow I've described. What intermediate file format would be best so as lose minimal quality? Which software to use for the conversion from the FLV and back into the subtitled FLV?
Thanks!

Hi.
I want to add subtitles to an FLV file using Premiere Pro. I'm working on a Mac.
I know that I can't use the FLV so I would have to convert the FLV to an intermediate format first. Then Import that into Premiere, add the subtitles, render and convert back to FLV.
So my question isn't directly associated with Premiere, but I would like to know what you guys would recommend as far as the workflow I've described. What intermediate file format would be best so as lose minimal quality? Which software to use for the conversion from the FLV and back into the subtitled FLV?
Thanks!

Question about Workflow between Premiere and After Effects

Hey guys, I have Production Premium CS5 (Premiere and AE)
One thing that has always confused me was basic workflow between these 2 products. Is it best to get your clips, but them into sequence, do the basic effects that Premiere supports and output into the highest quality video in order to take into AE and apply effects to?
Or should I take video footage, do my After Effects work, export that as a clip that will then be used in the video composition in Premiere? I know I don't want to move a project too many times between because of compression, so what would the most optimized workflow be?
FYI, I am doing a lot of video game frag movies, so I have a lot of effects I like to put into it.

Really?
I'm always amazed at Photoshop's cold boot startup time. On my rig it takes 8 seconds. From a warm boot, Photoshop will start in 2-4 seconds.
This isn't the case with my video editing software though...
Sony Vegas 8.1 (looking to learn Premiere so I don't need this anymore - Cold Boot : 8 seconds, Warm Boot : 3 seconds)
After Effects (Cold Boot : 22 seconds, Warm Boot : 8 seconds)
Premiere (Cold Boot : 48 seconds, Warm Boot : 16 seconds)
Premiere seems to be a beast of a program; I'm rather surprised, I thought AE would be the more intense one. Sorry, I haven't yet overcome my fears of losing projects/data because I'm running on a Windows machine.
It's half the reason why I have a Mozy account to backup my files to an online resource.

"unknown error" - Premiere / Speedgrade Roundrip

Hi,
I have cut a Teaser for a feature film with Premiere CC 2014.1, then I graded it in Speedgrade (per direct link).
Afterwards I sent it back to Premiere. Now I've sent the project file to the director for the finishing - though he
coudln't open the PrPro file - unknown error (he hasn't got Speedgrade, which as far as I understand, shoudn't matter,
right?!).
Anybody got an idea what this could be about?
Thanks for the help.
Best

After implementing many suggestions here I was able to export the 9min project successfully. I need to take you all out to dinner.
I'm not sure which suggestions did the trick but I have a feeling it was a combination of ideas that did the trick. Here is a breakdown of what I did to modify the project in order to get it to successfully export:
1.) Reset all stills in the motion tab to original settings & then right clicked on them in the timeline and selected "scale to frame size".
2.) Replaced all nested files with the original tracks.
3.) Changed the sequence settings (changed Editing Mode to Custom and Under Video Previews Section > Select Preview File Format as Microsoft AVI, Codec Uncompressed.
I had to re-render all previews after changing the sequence settings and I got I/O errors during that process but restarting Adobe Premiere CC somehow solved those errors. Many times during the process of modifying the timeline (based on items 1-3 previously mentioned) I had to restart Premiere due to a loss of preview screen and inability to render things out. In the end I was able to get it to successfully export so again I thank you all. This was a VERY important project for me and I'm serious about taking you all out to dinner

Premiere/Speedgrade CS6 install crashing (Mac OS)

Hi,
I downloaded the trials for Premiere Pro CS6 and Speedgrade CS6 and installed them hoping to activate them with my Creative Cloud license when that comes to life. The first time, the installation went successfully but the applications wouldn't launch. I thought maybe the problem was with my CS5 install so I uninstalled it and ran the cleaner utility. After a few cycles of running the cleaner utility and uninstalling CS5 and CS6 I am now unable to even get the install going properly, I start the install and after 2% get this error:
Installation Failed
Your installation encountered errors.
The error summary file may help you identify the issue.
The error summary file looks like this:
Exit Code: 7 -------------------------------------- Summary -------------------------------------- - 0 fatal error(s), 1 error(s), 0 warning(s) ERROR: ASU has quit unexpectedly. -------------------------------------------------------------------------------------
System Requirements
I would like to get this working soon but fortunately I can survive in FCP until then.
Adrian

Check after following these step:-
1) ShutDown you Mac
2) Boot the Mac while holding down the shift key untill the Login Window appears
3) Login and open the CS6 Disk Image
4) Copy the contents of the disk image (Blue PS Icon) to the desktop
5) Launch the installer from the desktop NOT the Disk Image
6) In my case it installed just fine....
7) Reboot the Mac so that the without the Shift key to re-enable the system extensions

Best workflow between Premiere and Encore for subtitling...

Hello All,
I switched from FCP and DVDS Pro to Premiere and Encore but having trouble to get the same workflow for the type of work we do here,
We deal with lots of foreign films that will be distributed on DVDs and streamed via places like Xbox, PSN and such.
We tried by starting by laying the final edit of the film in Premiere and placing subs. We found out that there was no easy way to export the video track as an stl or compatible format so we outputted the film and used subrip to create an srt which worked ok when we brought it over to DVDSP but subrip always generates lots of bad text which has to be manually fixed. I than decided lets try Encore cause it must be more compatible with Premiere for transferring info between the two but have not found a good way to do this yet.
What would be the best work flow between the two programs so you can create a DVD with subs and also have movie with a sub track that can be outputted for VOD besides having to do the work twice? I am sure many production houses have this need.
Thank you all for reading and look forward to some ideas. We are using CS6.
-john

To the best of my knowledge, you will have to use a non-Adobe app for creating the subtitle file. Once created, you'd bring that into Encore for disk creation. I'm not sure you can create a file for VOD with subtitles using Adobe tools. Encore can create Flash output, but that's probably not the best choice here.

P2 Workflow in Premiere

Newbie to Premiere after 12+ years with Final Cut Pro, still trying to figure out the workflow with P2. Looking for some advise on making this work as we are moving from Final Cut. Don't get me wrong, I really like what I have been experiencing with Premiere but I am struggling with the P2 workflow.
I like viewing content with the media browser and being able to edit right away but there seems to be some caveats for doing this. I really don't like moving the entire content of the P2 card over to my drive after every shoot. If I am copying all the content from the card anyway why can't I be able to move the content I want for this project? There are times I have gone out and shot for multiple projects and had to put it all one one card, I want to keep those content folders separate so I can better keep track of where my raw video is. With Premiere now I am doubling the transfer because I have to move the entire content from the card twice because I need it for two projects. Absolutely hate importing and having to go and rename after it's been the project, now the original file is still called some random name from the camera. What if I want to keep a file for archival purposes or to be used in another project or to share with a co-worker? Looks like I would have to export from premiere and create another file?
Really wish I could simply copy what I want to my project with the audio tracks that I need and have the file named what I need it to be named for future projects. Most times don't need all four tracks, why bring them in if they are not needed? Just makes a mess when editing with deleting blank tracks.
This is the way I am reading how to get my P2 content into Premiere, am I missing something here? Is there a separate program to copy the files I need off the cards then bring it into Premiere? Either way files have to come off the cards so there is very little time saving by using the media browser. Sorry if I sound like I am venting but really liked the way FCP did all this and worked extremely well for us. Any suggestions for making this work more like I want it too?
Tim

OK, So to be more specific it's hanging when I send it to Media Encoder Queue. I was just able to just do a direct export.
I found the article on permissions and that was not the issue.
I've made no changes to hardware and have done three projects with the same codecs, type footage, duration (1 hour range) with no problems.

Disconnect btw Prelude-Premiere-After Effects

This is my issue: I injested my footage via Prelude as a subclip. I then sent the logged files to Premiere Pro. Once I am in Premiere Pro and want to take this clip and edit it in After Effects, the link between Premiere and After Effects is audio only with the composition in Premiere reverting to BLACK. It seems Premiere and After Effects can't locate the markers created in Prelude. I hope I am explaining this correctly. I can correctly log all my items in Prelude and then transfer them to Premiere with no problems. The problem is when I want to adjust these clips in After Effects... After Effects is not interpreting the markers/subclips correctly .
HELP?????????????????????? I'd most certainly appreciate any suggestions.... thank you!

ok, I have the answer, sorry for the delay.
In Premiere Pro select your timeline clip(s), right-click then turn off Scale to Frame Size. Then replace the clip with an After Effects comp and you'll see what you expect in Ae.

Workflow with Premiere?

Hi folks
I may be becoming a "reverse switcher", from Mac to Windows in the not too distant future [we don't buy "Made in China" products, and Macs are now "Made in China", so replacement is going to have to be to a PC :(]
In Mac I edit in Final Cut Pro, Export as QTM, Compress in Compressor with my own custom presets, Build in DVD Studio Pro and Burn in Toast Titanium 8!
Would someone please tell me what the equivalent workflow is in Adobe?
Thanks, and regards
Roy

Thanks, Jim
Taiwan is not a problem!
In Encore, can I set my own presets? For example, I compress at 2-Pass VBR with Max Bitrate of 6.0 and Average Bitrate of 4.0, etc...etc., and burn at the slowest possible speed (4X on my TSST SH-S182, seeing as there ain't no such animal anymore as a 1X writer))
Thanks again, and regards
Roy

Optimum workflow for Premiere Pro and After Effects

I have been using Premiere Pro CS4 for three or four years. As I take on more ambitious projects, I have begun learning AE as well, since it offers many capabilities that PP alone doesn't.
I am puzzled about how best to use the two programs, since much of their functionality overlaps.
I typically import my raw footage from the camera into PP and do the basic editing and tweaking as required. I record the audio separately, so I import and sync the audio into PP as well.
I generally shoot in front of a green screen, key out the green, drop the background in, then add titles during the stream.
I have done all this in PP up to this point, but I am looking for the most efficient way to integrate the two applications. It seems to me that rendering a PP project that is linked to AE content takes a lot longer than I am accustomed to.
Can anyone shed any light on the best way to take advantage of the strengths of both programs together?
Thanks,
Joe Parsons

If you're happy with the chroma key you get, I wouldn't change a thing. Oh, maybe I'd make an animated lower-third background or some classy-looking backgrounds in AE. But if it ain't broke, don't fix it.

Workflow Prelude-Premiere-Speedgrade

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