The Metalogging Workspace in Premiere Pro

One of the nice things about Premiere Pro is the flexibility in the workspaces.  You can customize what type of workspace you want.  In this course, Jason Osder will introduce the metalogging workspace.  There is no editing here.  Instead we'll focus on logging and organizing footage.  It’s an excellent way to get started with a project in post production.

Efficient Importing in Adobe Premiere Pro: The Metalogging Workspace

To learn more, Jason Osder has created an exciting course called Premiere Pro Guru: Organizing Assets with Lynda.com               

 http://www.lynda.com/Premiere-Pro-tutorials/Metalogging-workspace/149680/154060-4.html

Organization is key to a successful post-production workflow. And you will feel good knowing your footage is organized and logged properly This course picks up where the end of your shoot leaves off and before editing begins—when you need to import, organize, and log your footage. Jason Osder shows how to import all different types of assets, from stills to soundtracks, and how to sort and annotate your footage in Adobe Premiere Pro. Plus, learn a few tricks involving Bridge and Prelude (like batch renaming) that will cut your logging time in half. He'll walk you through the critical steps of metalogging and organizing your footage even before any editing takes place.

Topics in this course include:

• Using the Media Browser and Metalogging workspace
• Importing from a drive
• Importing bins with a CSV file
• Batch renaming in Bridge
• Logging and pre-editing footage
• Using clip makers
• Working with metadata

You can check out the class here - http://www.lynda.com/Premiere-Pro-tutorials/Metalogging-workspace/149680/154060-4.html

Understanding the Project Panel

When starting a new project in Premiere Pro, it’s very important to know what you’re looking at and where your tools are in the project panel.  Having a good sense for where things are and becoming familiar with the panel will help move your post production workflow along smoothly.  In this course Jason Osder will get you set up with the project panel and explore it in detail.

Organization Inside Adobe Premiere Pro: Understanding the Project Panel

To learn more, Jason Osder has created an exciting course called Premiere Pro Guru: Organizing Assets with Lynda.com

http://www.lynda.com/Premiere-Pro-tutorials/Understanding-Project-panel/149680/154082-4.html

Organization is key to a successful post-production workflow. And you will feel good knowing your footage is organized and logged properly. This course picks up where the end of your shoot leaves off and before editing begins—when you need to import, organize, and log your footage. Jason Osder shows how to import all different types of assets, from stills to soundtracks, and how to sort and annotate your footage in Adobe Premiere Pro. Plus, learn a few tricks involving Bridge and Prelude (like batch renaming) that will cut your logging time in half. He'll walk you through the critical steps of metalogging and organizing your footage even before any editing takes place.

Topics in this course include:

• Using the Media Browser and Metalogging workspace
• Importing from a drive
• Importing bins with a CSV file
• Batch renaming in Bridge
• Logging and pre-editing footage
• Using clip makers
• Working with metadata

You can check out the class here - http://www.lynda.com/Premiere-Pro-tutorials/Understanding-Project-panel/149680/154082-4.html

Premiere Pro to Make Strong Showing at Sundance

I am often asked about what Premiere Pro gets used for...  while I can speak with certainty that broadcasters use it (I frequently consult with TV networks) I can now add films.

It looks like 21 films will debut at this year's Sundance Film Festival.  This is nearly double the number of films edited on Premiere Pro from last year’s festival. 

Here's the list of future films (be sure to keep an eye on these to see which ones end up breaking out). 

Films Cut in Premiere Pro

• Misery Loves Comedy | Director: Kevin Pollak, Screenwriters: Kevin Pollak, John Varhous
• The Stanford Prison Experiment | Director: Kyle Patrick Alvarez, Screenwriter: Tim Talbott
• Advantageous | Director: Jennifer Phang, Screenwriters: Jacqueline Kim, Jennifer Phang
• Being Evel | Director: Daniel Junge
• Fresh Dressed | Director: Sacha Jenkins
• Things of the Aimless Wanderer | Director and screenwriter: Kivu Ruhorahoza 
• Cop Car | Director: Jon Watts, Screenwriters: Christopher D. Ford, Jon Watts

Short Films Cut in Premiere Pro

• Every Day | Director Gabe Spitzer
• Followers | Director Tim Marshall
• Greenland | Director Oren Gerner
• Hotel 22 | Director Elizabeth Lo
• Making it in America | Director Joris Debeij
• OM Rider | Director Takeshi Murata
• Palm Rot | Director Ryan Gillis
• Papa Machette | Director Jonathan David Kane
• Russian Roulette | Director Ben Aston
• Symphony no.42 | Director Réka Bucsi
• Storm Hits jacket | Director Paul Cabon
• The Sun Like a Big Dark Animal | Director Christina Felisgrau, Ronnie Rivera
• The Face of Ukraine: Casting Oksana Baiul | Director Kitty Green
• The Collectors: Beekeeper | Director Steven Cantor

Photo by George Frey/Getty Images Entertainment / Getty Images

Panel Discussion

If you'll be at Sundance, Adobe is hosting a panel at the festival (you can also watch it streaming). The panel features some of the brightest, up-and-coming filmmakers as well as veteran Hollywood heavyweights: Rob Legato (Misery Loves Comedy [Sundance Film Festival 2015], The Wolf of Wall Street, HUGO, AVATAR), Kyle Alvarez (The Stanford Prison Experiment [Sundance Film Festival 2015], C.O.G. [Sundance Film Festival 2014], Easier with Practice) and Billy Peake (Gone Girl, The Hunger Games: Catching Fire).

To learn more about the panel and register to watch it streamed live online, go here: https://cce012315.creativecloud.adobeevents.com

Useful Websites for Motion graphics Source Elements

Don't have a budget for your video production? Don't let that hinder you. This tutorial provides some excellent resources for source imagery that you can use for free. Watch more at http://www.lynda.com/After-Effects-tu....

This tutorial is a single movie from the Motion Graphics for Video Editors: Creating Backgrounds course by lynda.com author Rich Harrington. The complete course is 2 hours and 32 minutes and shows how to create backgrounds for video projects using Photoshop and After Effects.

Motion Graphics for Video Editors: Creating Backgrounds table of contents:

Introduction
1. Background Essentials
2. Gathering Source Materials for Backgrounds
3. Working with Gradients
4. Designing Backgrounds with Photo Sources
5. Designing Backgrounds with Video Sources
6. Designing Backgrounds with After Effects
Conclusion | lynda.com

Syncing Multiple Cameras with Timecode in Premiere Pro

Discover how to sync your Premiere Pro multi-camera footage by timecode, in this tutorial. Watch more at http://www.lynda.com/Premiere-Pro-tut...

This tutorial is a single movie from the Premiere Pro Guru: Multi-Camera Video Editing course by lynda.com author Rich Harrington. The complete course is 1 hour and 51 minutes and shows how to import, sync, and edit footage from multiple cameras with Premiere Pro.

Using PluralEyes with Premiere Pro

If you run into problems syncing your multi-cam footage in Premiere Pro, try using the PluralEyes plugin. This tutorial shows how to import your project into PluralEyes. Watch more at http://www.lynda.com/Premiere-Pro-tut...

This tutorial is a single movie from the Premiere Pro Guru: Multi-Camera Video Editing course by lynda.com author Rich Harrington. The complete course is 1 hour and 51 minutes and shows how to import, sync, and edit footage from multiple cameras with Premiere Pro.

Join Me At Adobe MAX

It's time for Adobe Max!  If you're coming, I hope you'll consider attending one or more of my classes.  It's also not too late to signup for the conference.

Sunday, Oct 5, 9:00 AM - 5:00 P
P2109 - Exploring Time-lapse Photography with Adobe Creative Cloud

With time-lapse photography, you can literally see the passage of time. This style of photography is easy to learn but tough to master. In this hands-on training you’ll learn all the essential skills needed to shoot, develop, and assemble beautiful time-lapse sequences.

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Monday, Oct 6, 5:00 PM - 6:00 PM
S2405 - Repairing and Enhancing Video with Photoshop and After Effects

Find out how to correct problems encountered in real-world projects, like lens distortion, camera shake, noise and grain, and overblown exposure. Plus, learn advanced techniques for speeding up or slowing down your video, rotoscoping footage, and using the numerous creative color and texture effects in Photoshop and After Effects. 

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Tuesday, Oct 7, 8:30 AM - 9:30 AM
S2406 - Shooting and Editing Time-lapse with Photoshop, After Effects, and Adobe Premiere Pro

Learn how to develop and assemble time-lapse sequences. This session will present Photoshop and Adobe Camera Raw tricks to get the most from each frame. Then you’ll find out how to assemble the shots in Premiere Pro and After Effects. Advanced options like key framing and flicker reduction will be shown to give you the best-looking shot. 

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Wednesday, Oct 8, 8:30 AM - 10:00 AM
Wednesday, Oct 8, 1:30 PM - 3:00 PM
L2349 - After Effects: Creating Motion Graphics for the Web

Learn new ways to enhance your web graphics toolbox. This class will cover the workflow of animating Photoshop and Illustrator files with After Effects.  If you want to take total control of your animations, this is the perfect opportunity for you.

Direct Link to Adobe SpeedGrade

The Adobe workflow is known for its exceptional integration between apps. Premiere Pro and SpeedGrade have a great relationship. SpeedGrade CC is a powerful color grading system with a streamlined interface and in this course I will show you how to work with the SpeedGrade workflow directly from Premiere Pro.

Extending the Power of Premiere Pro: Direct Link to Adobe SpeedGrade

To learn more, I’ve created an exciting course called Premiere Pro: Creative Cloud Updates, for Lynda.com

http://www.lynda.com/course-tutorials/Direct-Link-Adobe-SpeedGrade/126763/156267-4.html

Adobe Premiere Pro CC has some very exciting new features and updates.  It’s important to stay on top of these new features so you can maximize your experience and workflow as you’re in post production. This course is dedicated to the video producers and editors who need to leverage the latest Premiere Pro tools and techniques fast.  I will cover all of these new features, which include: a customizable user interface, quality and format improvements like the enhanced Mercury Playback Engine, timeline tricks, and media management techniques, and the best audio, multicamera, and closed captioning workflows.

Topics in this course include:

• Switching between audio waveforms and video
• Creating a new sequence
• Integrating scripting with the Story panel
• Working with different camera formats
• Selecting and nudging clips
• Using dupe-detection markers
• Copying and pasting ranges
• Nesting sequences
• Relinking offline sequences
• Color grading with the Lumetri Deep Color Engine
• Adjusting clip volume
• Automatic syncing with audio waveforms
• Recording multicamera edits
• Adjusting timing and display of captions
• Exporting multiple clips/sequences

You can check out the class here - http://www.lynda.com/course-tutorials/Direct-Link-Adobe-SpeedGrade/126763/156267-4.html

Long Exposure Time-lapse Essentials

In order to capture a moving street shot, I turned to long exposure. To really see the lights and energy of the scene, I wanted to elongate the action.  Here’s the logic I applied to the shot.

1. First I set the camera to manual mode to avoid any significant settings changes from shot to shot.  With timelapse, you want to see variation over time, so the last thing you want is an aperture or shutter changing.
2. Next I stopped the camera all the way down and shot ƒ/22.  This let the least amount of light into the sensor.
3. I set the shutter speed to create the sense of motion.  In this case I found that 2.5 seconds was enough for the look I wanted.  People and cars standing still (at the intersection) were relatively clear, while those in motion became a long streak.  I also wanted the lights to take on a starburst.
4. Lastly I refined the ISO to achieve a proper exposure. In this case a value of ISO 800 was needed to get the shot.  This was due to the smaller sensor of the OM-D E-M1 and the fact that I was stopped down so small.

Once the shot was done, assembly was easy.  We’ve covered these techniques already on Photofocus.  Here’s the highlights of my workflow.

1. I used Adobe Camera Raw to develop the files and sync the same settings to all images.  In this case a slight Clarity and Curves adjustment helped.  Noise reduction was also used.
2. An image sequence was created.
3. The image sequence was imported into Adobe After Effects.
4. I interpreted the sequence at 12 fps (half the frame rate I needed).
5. I stretched the image to 200% and turned on frame blending. This forces a motion blur between shots (essentially a series os short dissolves) to emphasize the streaking.
6. I used keyframes to create a zoom on the shot.

All in all, post processing was only 10 minutes to create the shot.  I am happy with the end results and continue to explore using smaller apertures and longer exposures when shooting timelapse shots of nighttime activities or subjects that involve water or wind.

For more on photography, be sure to check out Photofocus.com

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Use Brainstorm in After Effects

With the Brainstorm tool, you can create new, randomly generated effects for use in your After Effects projects. Find out how to use this tool and experiment with your own effects in this tutorial. Watch more at http://www.lynda.com/After-Effects-tutorials/After-Effects-Guru-Mastering-Timeline/144848-2.html?utm_campaign=hHYAqr6sOhs&utm_medium=viral&utm_source=youtube. This tutorial is a single movie from the After Effects Guru: Mastering the Timeline course presented by lynda.com author Rich Harrington.