Get ready, Get SET TO FRAME SIZE with Premiere…

Premiere has some new additions being show a NAB this week… 

This one caught my eye personally because it was on my list of wants….

     



Here’s Al Mooney with a quick look at the big new features via the official Adobe Next Release Video at tv.adobe.com



From Twitter…

From Twitter…

NEW ADDITIONS AFTER DAY ONE ON PREMIERE CC JOB

PREVIOUS LIST

I have taken on my first REAL WORLD Premiere CC project and these are regular things that are +++winning me or —-just bugging me throughout the day…  (updating as I go)


++++ SELECT A BIN  IN THE PROJECT MENU AND THAT’S WHERE YOUR IMPORT GOES TO: No set bin or anything like that. Cool, SIMPLE, AWESOME!!!!

—-COPY AND PASTE CLIP(s) and the TRACK SELECTION(S) are driving me nuts. I copy a selection off track V5 and I hit paste to go to the same track and I just have to keep UNDOING and use TRACK SELECTIONS. I just want to quickly paste to the same damn track. This is the kind of stuff that drove me nuts about MATCH FRAME clip selecting until it finally got updated. 

(@StrypesInPost adds a tip  ”For copy and paste, if you deselect all target tracks, it pastes to the same tracks as things were previously”)

—-TRACK SELECTION TOOL “DESELECTING”:  Use the TRACK SELECT TOOL and sometimes you get and audio track ahead of it in the timeline because the extends (like music for instance) into your TRACK SELECTION AREA -  you can’t hold a modifier key (LIKE IN FCP7) and deselect that unwanted track from the TRACK SELECTION TOOL?  

—-SEARCH CRITERIA FIELD ACTIVE/ENABLED: Add something in the SEARCH criteria box to locate media in the project or bin. This is an After Effects thing and works great with the effects and presets for After Effects. While editing in Premiere though, you return to the same bin and you’ll find yourself confused cause the previous search criteria from 20 minutes ago is still hiding non criteria media so you have to delete/reset it.  Throughout the day, this is really starting to become annoying inside the MEDIA BIN aspect.  Perhaps a “reset” after unused for a minute or something?

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This was happening to me all day long….



+++OPTION DRAG CLIP TO REPLACE CLIP IN TIMELINE is really really COOL and HELPFUL while editing. I used to like to  RIGHT CLICK on a TIMELINE CLIP and RECONNECT to a new version for instance. Trouble always was in FCP7 the name didn’t change. You would have to CHANGE CLIP TO NAME OF FILE or do nothing more or less.  I do miss the simplicity of RIGHT CLICK and RECONNECT from FCP7 vs PREMIERE because you have to have the replacement clip in the bin BUT I love the name change replacing. Perhaps a COMBO of these?

—-CROP TOOL IS AN EFFECT IN PREMIERE CC:  Coming from Final Cut Pro having the CROP TOOL not part of the MOTION TAB feels weird. DROP SHADOW as well.  Bummer. Whatever I guess BUT then take into account that Premiere’s CROP tool defaults to be numerically enter (which is slower) AND there’s NO VISUAL FEEDBACK/GUIDE to see where your crop borders are AT FIRST.

IF YOU CLICK on the word CROP yellow borders show up in the PROGRAM WINDOW but man this seems to move so SLOOOOWWWWWWW.

Click in the wrong spot and you may find yourself in a fight between CROP BORDER or ACTUAL BOUNDING BOX BORDERS. 

—-EFFECT CONTROL PANEL ROLLING OFFSCREEN:  The EFFECT PANEL can roll right out of view like it’s not there anymore. I use the SCROLL WHEEL now to roll through the items in the MENU - but at first it threw me off how I could get to it. Wouldn’t be so bad with multiple monitor setup though. 

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(Here is before it could creep off the screen)

Using AE more now and I realize this happens there as well. I’m less of a fan that ADOBE is copying AE (which is NOT and editor) and making PREMIERE so GOOEY/STRETCHY with panels and timeline resizing. I actually don’t want to have to zoom in and out and reposition timelines to do basic things. I would prefer they designed the PREMIERE LAYOUT based on a locked layout(s), get all the gooches of timeline editing ironed out THEN they can add the GOOEY-ness that you may or may not want.  NOT having display of MARKERS and VOLUME graph on smaller settings is just silly to me.  Even when you have DISPLAY MARKER enabled they don’t show on two smallest increments.  

—-TIMELINE CLIP VIDEO AND AUDIO (without WAVEFORMS) LOOK THE SAME: so when I keep having to adjusting track sizes I end up grabbing audio instead of video at times. 

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(I have noticed now that when you select clip audio the border turns white but select video and the whole clip turns white)

—-TIMELINE AND CLIP MARKERS: In FCP7, you select a clip in the timeline and HIT M Boom! It makes a CLIP MARKER. No clip selected in the timeline…HIT M. BOOM. It creates a TIMELINE MARKER.  Super Simple and shouldn’t  take different keystrokes that you have to map to do this in Premiere.

+++ —-TILDA ~ KEY MUST BE YOUR FRIEND:  Seems like at times the fastest way to move around/over the stuff that drives me bonkers in the Premiere Timeline.

—- TRACK MATTE EFFECT: I used the LUMA MATTE COMPOSITE MODE in FCP 7 often.  It basically made VISUAL sense in that the IMAGE on top PASSES THROUGH the matte underneath it AND COMPOSITS onto whatever is below. You just had to keep the MATTE directly under the CLIP in the timeline to work. 

PREMIERE PRO CC has this as an EFFECT you add to a clip AND it’s different.  You can put the MATTE above it on any track or spacing because you ADD the TRACK MATTE EFFECT to the CLIP.

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Inside the EFFECT you choose on what Video track number your matte clip is residing AND THEN how to matte key it (ALPHA / LUMA).  This is cool enough and copies the LAYER concept from AFTER EFFECTS except for ONE MAJOR DIFFERENCE…

LAYERS can be moved around. CLIPS can’t. 

When editing a lot of time you move clips around to condense or consolidate making the timeline more organized. It could even be an assistant that does this. MOVE THAT MATTE CLIP to another track and (unlike AE layers) NOW doesn’t it work. After Effects layer’s can be moved around and this still works, but in PPRO moving it off the TRACK you told the EFFECT the MATTE clip was on makes it broken.  CRAP!

You have to go through and manually switch the EFFECT in each clip you used it on.

Do it to 50 or so… then this SUCKS!  

You could make a new EFFECT save it as a preset (which is NOT better than dragging to a BIN FOLDER in FCP7) and USE FIND IN TIMELINE to remove the previous EFFECT and PASTE the new one to all the clips as once… EXCEPT… have I mentioned…  NO DAMN FIND IN TIMELINE!!!!!! :-(

PREMIERE CC: I know I’m using caps but I’m saying PLEASE?

My ongoing list of wishes and wants along my journey from the APPLE FCP world to ADOBE… Some are previous off the old list and some all news ones as well… Although I do dig the company ADOBE and their handling of the Pro Community…  I regretfully still do not yet feel I totally dig editing with Premiere CC… 



STILL NO FIND/SEARCH IN TIMELINE - It’s how we can search for actual common/similar named interview clips to paste effects/corrections into for an entire timeline for instance, FIND LABEL in timeline would be cool in addition name searches.  The woes of finishing/reporting the end of a show using FCP 7’s FIND IN TIMELINE for instance is easily managed with creative searching/finding stock footage for instance and this makes it jump ahead of Premiere Pro CC as a tool of choice for a whole series/show even for just pasting effects like CC into like named clips in timeline.  

@philiphodgetts reminds me that Sequence Clip Reporter can help with this (and I USE SEQUENCE CLIP REPORTER and have for years)  it helps with reporting music and stock footage for production wrap but isn’t an editing substitute for FIND IN TIMELINE when searching for cross fades to delete, effects to paste to like clips or even making dreaded EDL’s but like all the Intelligent Assistance stuff, it makes life easier. 



COPYING EFFECTS TO A BIN:  Something that made FCP so flexible. Add an effect or two to a clip and then drag that clip into a bin which copies it with effects intact. Boom, there it is to copy and paste effects (and attributes) from for future use. If we had FIND IN TIMELINE we could search/find like name and also select FIND ALL to get multiple clips based on FIND criteria and easily add those copied effects from bin clips to timeline clips.  We could also save just the effect with it’s adjusted values AND do things like create crossfade (see next comment on CROSSFADES) of a “special” length could also just save it to a bin. 4 frame crossfade, drag, boom. Got it. Much like the flexibility in Final Cut Pro which is why I complain. I feel like beat it or copy it… literally. 



AUDIO MOVES IN TIMELINE SHOULD MOVE IN WHOLE NUMBER db’s - NOT IN POINT INCREMENTS: It’s frustrating that the audio keyframes don’t appear in the first two size increments of resizing the audio tracks. Smallest and next to smallest. Why?   

I’ve come to realize that the simple editing basics of working in the timeline has become my least favorite thing about Premiere Pro. 

Super Biggest Gripe, you have to hold CMD key to add a keyframe after it’s resized big enough to display audio keyframes BUT most of the real estate for doing this inside the clip is given to the INSERT/OVERWRITE MOVE TOOL instead of adding a keyframe. If Premiere would just let me map OPTION (which is free and the way FCP worked) it could make this conflict better. 

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Next, the specific-ness of hitting the volume line to add a keyframe feels way too specific and I fight with it too much for simplicity of a basic editing task.  

Please allow me to map another key like holding OPTION an option at least and help me get this to be smooth as butter. This is basic editing. 



[UPDATED/ADDRESSED IN NEW CC UPDATE ] COPYING AN AUDIO CROSS FADE TO ANOTHER AUDIO CLIP: It is way easier to do this in FCP.  The TRACK SELECT COPY / TRACK SELECT PASTE feels like a pain in comparison - and doesn’t feel rock solid.  In FCP you could copy and paste but the Track Selection was overidden by the the clip you select (like matchframe) AND you could also just drag a transition from clip to clip AND make it START, END, MIDDLE it’s postion all in that one drag. Way fast and effective.

I say copy FCP or beat it on this one.   Additionally because you can save EFFECTS to a BIN in FCP and you CAN’T in Premiere Pro CC (ugh) copying TRANSITION like a CROSS DISSOLVE of 4 seconds or 4 frames to a bin is possible. Not in Premiere though. 

Amendment: I see this has been addressed by selecting and pasting destination and a cool new LASSO feature BUT it’s still not really faster than a quick drag/FCP method - BUT you can slide it around on the timeline to reposition. Good things and decent things really. Dragging a crossfade to a destination is STILL faster than this new update AND in FCP you could drag into BINS for later use as well.  Sorry, but this is still more useful and flexible. 



REDO/MAKE BOUNDING BOX A CHECKBOX SELECTION ON/OFF:  Right now you just double click a timeline clip and the bounding box appears and you can move. BUT you can’t select multiple clips and move them. 

Have two clips, one on track V1 and one on track V2? Go to the PROGRAM viewer and try to select the clip on V1 with the double click bounding box method…. YOU CAN’T. It only take whats on top most track unless it is smaller than the whole frame. GRRRRRR.  Even if you disable V2…. still bounding boxes top most track. 

We NEED to be able to select multiple clips in the time line (like graphics in different positions on screen) and move them together with a BOUNDING BOX checkbox (not double click). 

I tried GROUP CLIPS as a work around. Doesn’t work either. Bounding box just gets disabled on a GROUP.

Additionally, you now have new LINK SELECTION ON/OFF like FCP. Great, but now the LINKED SELECTION of clips in a GROUP don’t work as expected either. They become UNGROUPED behavior clips again.  It’s the opposite behavior. Seems like a mistake.  GROUPS should take precedence over the LINK SELECTION or they really don’t actually GROUP. 



PARTIAL RENDERING STILL DOESN’T REALLY EXIST. If the series of clips are in your render selection if will keep any clip that got fully rendered… but I’d like partials to be kept. This one feels long overdue…

ALSO: To simplify, how about PREVIEW/QUICK RENDERING OPTION instead of the the way the timeline setting checkboxes confusingly do this.  PREVIEW/QUICK RENDER would be choice so that it renders what you need rendered in the quickest codec render possible (perhaps even the one the timeline is set to) so you can look at it rendered ASAP while offline editing.

When you go to OUTPUT it would render at full quality unless YOU checkbox would override using your PREVIEW/QUICK RENDERS FOR SPEED.  Basically just make this less complicated. I know people are gonna make masters using preview codecs instead of FULL QUALITY because of these checkbox thingies.  

AMMENDMENT: The new ability to change sequence settings will help this out. 



ALLOW THE ZOOM TOOL AND (spacebar) PAN AROUND TOOL to work in PROGRAM and SOURCE monitors:  It’s Adobe and this an ADOBE thing. Please add this ADOBE feature to this ADOBE product. 



ALLOW THE SCROLL WHEEL to adjust numeric values LIKE it does in Adobe After Effects.  Like in AE for font sizes, scale, opacity, ETC. Please?



PREMIERE PRO CC ADDS INTERLACED 3:2 PULLDOWN!!!!!:  I found this to be be excitingly cool. You can add in 23.98 clips to 29.97 timeline and BOOM… usable 3:2 pulldown EXCEPT… it’s starts the pulldown on the B frame of the traditional cadence NOT what should be more useful and standard A frame.  OF NOTE: Apple gets this wrong too with compressor starting on the D frame first.   Please address?



DEFAULT RED TRIM MODE MISSING DUAL ROLLERS?  Always been baffled when I saw Al Mooney at LAFCPUG demo the TRIM MODE checkbox in Preferences to make the red arrows turn to RIPPLE YELLOW ARROWS BUT there was also a DUAL ROLLER when your parked in the middle of two clips. How come there isn’t a DUAL RED ROLLER on the default? It would make EXTEND EDIT KEYSTROKES even easier. 



CLIP MARKERS STILL FEEL LIKE AN AFTER THOUGHT:  Hadn’t been there until recent, but you have to map you’re own keyboard shortcut for adding them.  Then you have SHOW AUDIO MARKERS enabled BUT you can’t see the markers unless 

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CAN’T SEE TIMELINE MARKER UNLESS the clip is expanded at least 2 increments: Not really helpful.  FCP 7 and X do this and do this and do it way better. Markers are an very important part of timeline editing.  They need to be there for ALL sizes. 

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Hitting MM in FCP got you a Marker ADD and the ability to NAME/EDIT EDIT. It’s still two steps in Premiere. 



NUMERIC SLIP [STILL] DOESN’T WORK RIGHT:  I’m a numeric slipper - especially when editing music for timing. I like to hit +1 or -1 and the clips slips internally. Premiere Pro CC STILL converts to SLIDE when you try to numerically type. I think this is a big FLAW and would like to see it addressed. 



SAVE AMENDMENTS to already saved WORKSPACES: Right now you have to save an all new one. 



CAN’T JUMP to a TIMECODE in the TIMELINE that is past the LAST CLIP in timeline:  Open a new timeline and type in to the source timecode window 01:00:00:00.  What happened. Nothing, right?

I can’t even add a new clip into timeline at this timecode because there isn’t a clip already in the timeline beyond this point. You have to slop a clip later in the timeline to do this? ARRRGGGGGGG! 



AUDIO LEVEL AND VIDEO KEYFRAMES in TIMELINE CLIPS don’t go to all the way to the top or or all the way to the bottom:  This drives me f’ing nuts.  I already have an issue with adding keyframes and now if you move the audio keyframe up to the top… it doesn’t actually go to the top. It seems it’s part of the design AND that there is a sort of bumper at the top. Fine, I can kinda see that there but drag it to the bottom and it doesn’t go all the way to the bottom. Visually it looks like a mistake that I find myself second guessing - the white highlighting doesn’t help either…

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AUDIO LEVELS USING DECIMAL VALUES IN THE TIMELINE? Um.. Why?  It isn’t really more likely for an editor to need to raise up audio levels 2.68db instead of a more specific whole numbers like 3db or 6db - which are important numbers for audio.  Why doesn’t it snap to ZERO?

Also, when you go to the top limit why does it say +6.02db  instead of +6 like it does in the Clip Mixer???? )  Also, why +6 instead of +12 for instance?

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LABEL NAMES:  Isn’t the first you’ve heard this… the label names suck. So, if you’re gonna keep them then EVERY TIME I have a choice of LABELS presented to me then I NEED a visual COLOR PALETTE (on the right for instance) to go along with it so I don’t have to GUESS what CARIBBEAN or CERULEAN or whatever the crap their names are look like in the world of colors.  (SEE IMAGE)

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DEFAULT TIMELINE LAYOUT feels best for just “demoing” Premiere Pro CC vs actually editing real world projects with the timeline so scrunched. Just a comment. 



THE WAVEFORMS INSIDE AUDIO CLIPS IN TIMELINE DON’T CHANGE: Normalize, change volume or add a compressor. They look the same. Adjust anything and they STILL look the same as they were without any work done to the audio.  Check out FCPX for an OUTSTANDING usage of waveforms. Initial volume in background, new volume waveforms after adding audio effects AND the YELLOW RED additions when clips audio is getting to loud. This is really amazing looking. It’s part of making TIMELINE EDITING better and that’s what I want from Premiere Pro CC. 

@StrypesInPost adds that the AUDIO GAIN TOOL popup [mappable to your choice of keystrokes] appears to be the ONLY tool that the waveform readjusts after you use it) 



I NEED “PLAY AROUND” TO ACTUALLY “PLAY AROUND  & LOOP” AS THE FEATURE INSTEAD: Currently you have to turn on LOOP in the program window and then PLAY AROUND. Isn’t that more likely what the use of PLAY AROUND will be used for editing moreover?



[BOOM WE GO THIS ONE in UPDATE] MODIFY SEQUENCE SETTING(s) AFTER IT IS CREATED:  This can’t be the first you’ve heard this. Sometimes you want to just change the rendering codec or the frame rate or something. Do we really have to start all over?  In FInal Cut Pro, the workaround was to copy the timeline into RAM, DELETE all clips and THEN you could change timeline settings.  I guess we have to Create a NEW SEQUENCE in Premiere, setup all the new setting and timecode settings THEN paste the selected from RAM for instance. Would be cool to alter the timeline clips are in. Just saying. 



CLICK AND DRAG VIDEO CLIP UPWARD OFF SCREEN: Should be able to use it to move/scroll up to VIDEO TRACK 50 and back down visually as you hold it.  Try to grab VIDEO off TRACK ONE and try to move it up to TRACK 50 the TIMELINE won’t budge upward. Won’t let you roll past current screen layout to offscreen tracks. 



TURN ON LINK SELECTION and GROUPED clips don’t react like a GROUPED CLIP anymore.  Grouped clips should override the LINKED SELECTION setting because that’s why you grouped them in the first place, and they current DO NOT. 



NO REVERSE TELECINE: Adobe Media Encoder doesn’t even offer a SMART REVERSE TELECINE feature (like Compressor does) to remove non perfect cadence.  With digital 23.98 versions of older television shows hitting new media, that cadence is NOT the same across the show. We need to get it removed SMARTLY on an EDIT BY EDIT basis. Apple Compressor has had this for years, but lately it seems to suck more. HELP US…. Please?



MAKE ADDING CROSS DISSOLVE SMARTER:  Make it so we can not only add it BUT ADD AND DETERMINE its STARTING AT CUT, CENTERED ON CUT, AND ENDING AT CUT status with just the one move/key command.



BACKGROUND RENDERING and TRANSCODING: Pretty self explanatory.  It would be cool to render in the background and like FCPX transcode files a common codec AND reconnect all without me doing anything.  I know Premiere is wicked about playing native files but there may be a need for this instead of using Prelude.  Prelude is a full production tool - not really a great editors tool.  This isn’t usually a big deal for me but I know it is to others. (although this week I wanted to convert timeline media to an offline codec)



DLSR FOOTAGE DOESN’T READ TIME OF DAY TIMECODE: TimeOfDayTC exists in a sidecar .THM and when you import native DSLR footage into Premiere… it “magically” just plays. AWESOME!!!   It starts all clips at 00:00:00:00 though. Even transcoding in Prelude doesn’t allow a transcode using the .THM files.  Time of Day TC could be useful to us.  Magic Bullet Grinder does allow a few choices here, and that’s exactly why I use it over Adobe Prelude. 



CHANGING LABEL COLOR IN BINS SHOULD CHANGE LABEL COLOR IN TIMELINE - I hear you can’t because there’s not a connection BUT if that is the case why does deleting a clip in the bin delete the clip in the timeline (which I would like NOT to happen either) 



3-WAY COLOR CORRECTOR NEEDS A 2013 MAKEOVER:  The addition of the weird rectangle slider doesn’t make sense to me. I just moved the point to add blue why do I have to move some silly rectangle to accept the move or add a percentage of the added color.    The black point white point is also less simple and television oriented as tools.  Copy 3-way in FCP and Colorista which uses “subtractive color” vs additive color makes a huge difference in the adding of color to black areas.  

For the 3way CC in Premiere Pro CC - I HATE using this tool.  Use Speed Grade you say? Look, I’ve color corrected hundreds of hours of broadcast and feature programming using the built in FCP tools for one super duper big reason over COLOR or RESOLVE. The project wasn’t actually locked. It’s hardly ever locked.  Using timeline based color correction allowed for additional editing to still continue AND onlining to continue as well.  Until Speed Grade just becomes built INSIDE a PREMIERE timeline I’m going to continue to bitch about the 3-way color corrector Adobe currently gives me. 



CAN’T SEE TIMELINE MARKER UNLESS the clip is expanded at least 2 increments: Not really helpful.  FCP 7 and X do this and do this and do it way better. Markers are an very important part of timeline editing. 



OPTION ARROW to MOVE CLIPS:  Yup, we got it now, but it will PLOW DELETE™ through anything it comes in contact with as opposed to hitting a clip wall.  I think that could be useful of course AND I think that could also be a DESTRUCTIVE problem.  Anyway to INVENT a “hold a modifier key” to either PLOW DELETE™ move or NOT PLOW DELETE™ move?

Oddly I love when you numericly move a clip back and forward in timeline it PLOW DELETES™ whats behind or in front of it -  It’s the way it should be unlike FCP 7. 



I know there is SNAPPING for moving clips so they move tracks but not horizontal positions on the timeline. I seem to be able to knock it out of position despite. In FCP we held the shift to lock it when moving up and down tracks to stay in place. I think I still want to do that for security and peace of mind. 



SCALE TO FIT IDENTIFIER : Clips that have been “SCALED TO FIT” based on the preferences need some sort of clue/ID/Marker that they’ve been “SCALED TO FIT”.  We don’t always edit our own projects and it would be sad to find that editor scaled a clip past 130 percent and if you you disable the scale to fit you could have not lost much resolution. But you can’t tell as the new operator of the timeline unless you know this, right? (SEE NEXT WISH)



AN ADDITIONAL OPTION FOR SCALE TO FIT BY SMART CALCULATIONS OF MOTION AND DISTORT  - NOT BY SIMPLY SCALING RESOLUTION:  I get with proxies why you chose this method BUT we should be able to add a clip of a different size to a timeline and PREMIERE calculates the Math to making it fit - LIke 1080p into a 720p timeline. Premiere should know how to motion/distort/PAR the clips to be correct. Leaving it up to us (the way it is) seems like a good way for some many to  f**k that all up.  



PANNING AUDIO should just be a simple light up L  C  R button in the timeline. 



OPTION CLICK AUDIO TRACK solos that track and a SECOND OPTION CLICK inverses that choice: It’s a FCP 7 thing but it works and is fast. Just wish I could program this. 



TRACK SELECT TOOL should be multiple ARROWS/POINTERS now that you’ve changed the default behavior.

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SPEED RAMP TRIANGLES are weird:  It’s a start but I’m confident you can do better or have a AE-LIKE keyframe editor instead. 



INSERT AND OVERWRITE should probably be colored RED and YELLOW for functionality and design. 

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WHITE HIGHLIGHTING of CLIP WHEN SELECTED has NOT grown on me: I think it still feels beta. Additionally, this highlight confuses the boundaries of the selected clip for AUDIO levels and keyframes because it looks like it doesn’t go to bottom…

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REMOVING AUDIO KEYFRAME(s) should be just a held modifier - like option in FCP 7 (which is timeline editing faster) 

(@StrypesInPost added that the PEN TOOL can marquee select multiple audio keyframes and delete (which is a neat feature for sure) but I was simply referring to the RIGHT CLICK POP UP / SCROLL DOWN / DELETE vs OPTION CLICK) 



DOUBLE CLICKING a TRANSITION should open it in the effects menu vs a POP UP DURATION HUD - which could simply be part of the effect menu as well. 




SOUND EFFECTS LIBRARY: Like what came with FCP7



NEED TO BE MORE PLUGIN FRIENDLY:  Everybody that does this work feels the API is too difficult.  FCPX has new plugins so often it’s like rabbits doing it. 



**NEW ADDITIONS AFTER USING JUST ONE DAY ON A REGULAR JOB: 

**COPY AND PASTE CLIP(s) and the TRACK SELECTION(S) are driving me nuts. I copy a selection off track V5 and I hit paste to go to the same track and I just have to keep UNDOING and use TRACK SELECTIONS. I just want to quickly paste to the same damn track. This is the kind of stuff that drove me nuts about MATCH FRAME clip selecting until it finally got updated.  (NOTE: HAVING NO TRACK SELECTIONS ENABLED allows pasting to tracks items were copied from) 

TRACK SELECTION TOOL “DESELECTING”:  Use the TRACK SELECT TOOL and sometimes you get and audio track ahead of it in the timeline that extends into your TRACK SELECTION -  you can’t hold a modifier key (LIKE IN FCP7) and deselect that unwanted track from the TRACK SELECTION TOOL? 

SEARCH CRITERIA FIELD ACTIVE/ENABLED: Add something in the SEARCH criteria box to locate media in the project or bin. This is an After Effects thing and works great with the effects and presets for After Effects. While editing in Premiere though, you return to the same bin and you’ll find yourself confused cause the previous search criteria from 20 minutes ago is still hiding non criteria media so you have to delete/reset it.  Throughout the day, this is really starting to become annoying.  Perhaps a “reset” after unused for a minute or something?

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(As long as GRRR is in this box you can’t see anything else til you [ X ] - RESET it - Super useful in AE but feels like a hindrance while editing)



After all this time, I still honestly still do most all editing with Final Cut Pro 7. Various shows, films and docs I work on are still using FCP 7 as well. 

If Premiere CC has 64bit and Mercury Engine Native Playback and I think it is such and improvement forward THEN whats the hold up?

Well, most companies I work with are still doing regular television, docs, and feature films in Final Cut Pro 7. It’s flexibility makes up for the lack of no real time, the need for transcoding, and the fact that there are no updates anymore or ever. It’s hard to knock that if you just want to edit and put out all that’s needed in a show, film or doc,  it still works for most everything you need and there is a support of plugins and third party tools to conquer what’s missing.  

Final Cut Pro 7 is end of life…but it still isn’t dead yet…

continues on:

NEW ADDITIONS AFTER DAY ONE ON A PREMIERE CC JOB

http://theeditdoctor.tumblr.com/post/66989375441/new-additions-after-day-one-on-premiere-cc-job



I recently looked at the Apple.com ad about iOS 7.

The background wallpaper image of the interface shown actually looks decent.

But, replace it with any of the other default wallpaper background choices and you get imagery like these above….



THIS is beautiful? Really? 



As IOS moves forward in functionality, is the artistic redesign actually helping make it more functional???  I don’t think I’m sure it that it is.



Simply, icons and their designs are a language. A language that needs to be understood very quickly.  Stop signs. Handicap logos. Caution logos. Ghostbuster logos.  

And this makes think about my other use of Apple products…



Editing is a language.



The psychology of how editing works with us as communication slowly grows over time as we accept new kinds of editing as part of a language. 

To watch a 70’a film classic, American Graffiti, and then never seeing another film until the 2000’s, Memento, is quite a jump in language of film editing.  So much so, that person would most likely be lost watching a non-straightforward narrative film like Memento

The remote control contains ICONIC symbols for STOP and PLAY and REWIND and FAST FORWARD. The’ve been around since before most of us were ever even born. 

Imagine thinking different. Imagine introducing a remote control without those icons… without that language.

A better remote control… sure. Seems cool. A different language for using a remote control… not so much, right?

Sure, eventually you’d figure it out I would imagine, but did it really need a reinvention?



I love that Apple tries to think different, but it’s no secret that removal of previous Final Cut Pro language as tool for film and television for the beautiful FCPX was not liked by the PROS

FCPX, in addition to really just sucking at it’s introduction, reinvented the paradigm of editing. There are great amendments to how video editing could be improved with it. No doubt.  But metaphorically, the icons on the remote did get changed…

And when people say the PROS were upset about it… yes, the FCPX training folks can wack-a-doodle all the different ways PROS can be people other than folks like a Walter Murch for instance, but truly we all know who the (perhaps now outdated) term PROS really meant. 

If Walter Murch walks out on a stage and says I am using FCPX to edit my next film, would it be a game changer for Apple’s Pro Marketing?

F*CK YES it would!*



I updated to iOS7 yesterday.  I see all the improvements in the way the device can and does now work better but I also see how the design impairs what it is meant to be communicating and how I communicate. 

Does the 3D look behind of icons really make my day better? Does the excessive use of harsh white on white really make the calendar app easier to use?  Does the lack of contrast in the icons blend into the wallpaper background so much that it now just becomes a Jackson Pollack?  Does the chat window starkness really help me communicate better than the impressively ICONIC chat icons of previous? 

And this is what worries me about Apple.  They have and most likely will REINVENT and DISCARD just like that.  In the PRO world, weeks, months and years go into a project that can afford to hedge its bets on a reinvention/discard walk the line - think different attitude.  

But in a PRO world, it feels so dangerous to invest in this already established REINVENT and DISCARD attitude - no matter how great it is TODAY - because NEXT YEAR… introducing WHOOPDEEDOODIE PRO EDIT AWESOME XXX comes out and X is discarded. 

I think Apple is knocking crap out of the park all the time. They truly are an amazing one of a kind company.  

But, they can market that new iOS7 is “beautiful” over and over again so much so that it becomes the casual people way describe it at parties and in their blogs, but as a PRO, I’m not casually onboard with their train destination anymore. 

I actually need to know what’s in store for the future of software that they are making or killing for that matter - which is why I started paying attention to the PRO thoughts of a little company called Adobe… who in turn… started paying attention to the thoughts of little me…





*[If academy award winning Ethan and Joel Cohen (under the guise of Roderick Jaynes of course) Christopher Nolan, David Fincher, etc. decide to edit their next film with FCPX, same thing]

 



Lucas Cultural Arts Museum - a long time ago, there wasn’t an iPad….



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Envisioning A New Kind Of Museum….

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 I’m a storyteller at heart, and I understand the power of a visual image to tell a story. I know how works of art can ignite children’s imaginations and even change their lives. They changed mine….

- George Lucas - excerpt from www.lucasculturalartsmuseum



I remember the speech Robin Williams delivers to Matt Damon in Good Will Hunting… 

       

We’ve all done a bit of griping about the writer/director side of George Lucas over the recent years and you don’t have to twist my arm to tell you that everything I learned from him as child about filmmaking was why I was so disappointed with prequel trilogy…. but I can also remember NOT feeling that way. 

I can remember feeling a certain magic when hearing his name was attached to something in the works. There were TV programs like SPFX: The Empire Strikes Back where they showed us not only how they did the stuff they did in Star Wars, but that it was possible for silly kids like us to do the same things.  

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VHS’s you could rent or borrow from the library. 

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For many of us, it ignited our imaginations and even changed our lives….

One summer, I designed a way to build a round ball out of cutting and folding basic construction paper. Several rolls of tape, several trips to the back of Sears for refrigerator boxes and couple of friends, and that little design became a 7 foot boulder prop like in Raiders of the Lost Ark - and for some reason I wanted to recreate THAT scene with my dad’s old Bell and Howell Super 8 movie camera. 

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I think about how my life would be so much different had George Lucas not gotten to share the ideas in his head with us. How we were experiencing and learning new things from Star Wars through a filter of  his childhood inspirations and experiences.

To me, that’s what I always thought “directing” a movie was about. Learning the craft of it came first of course, but then eventually asking people to experience a story told through your filter or voice. 

Today it rarely feels like I’m hearing one voice anymore - more like a room full of people talking over each other.  

So perhaps it’s gone. Perhaps I’m living in the past.  Get over it!?

But there really is a difference between seeing American Gothic as an online .jpg versus staring 2 feet away from the actual brush strokes at the Chicago Art Museum. 

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Or watching Cameron Frye in Ferris Bueller’s Day Off staring at impressionist painter Georges-Pierre Seurat’s pointillism masterpiece, Sunday Afternoon in the Park versus standing right there in front it. If you’re to close, you only see the paint dots. As you back up the intended imagery takes a form. 

     

Lucas Cultural Arts Museum

George Lucas wishes to build a Lucas Cultural Arts Museum in San Francisco. Lucas, a collector of original Norman Rockwell paintings in addition to other artworks, wants to share this collection of original art that inspired him with new generations who in the digital age may never even know what it’s like to experience it in person - or possibly imagine why they would ever want to.

For those of us who have ever talked about holding cassette tapes, CD inserts, or even record album jackets with liner notes in our actual hands to a younger person… that sharing of that experience - however dated - is something we all still seem to have. 

The museum will also contain artwork and materials that fall into the “digital art”  category - which I certainly would hope follows a storytelling through line of art history merging into technology.

Education is to be a part of it as well. I get a little nervous at this part hoping that it doesn’t strip away the interest in the organic side of art history and focusing on obtaining artistic perfection via technology. The The Sistine Chapel ceiling is an amazing piece of Michelangelo art but the fact is was hand painted on the ceiling and took 4 years to complete is mind blowing. Sure, you could composite it in photoshop as a photograph in day, but think about how he actually pulled this off. It’s amazing. 

Also, because Lucas himself is so historically tied to much of the “digital art” by one or two degrees with ILM, PIXAR, ETC. I would hope it isn’t just (or only perceived as) self serving for merchandise sales.  

I get and like the idea of sharing inspirational artists from ones childhood and I must confess that’s the part that I find most interesting…. because the impact of Lucas (and Spielberg) has already influenced so many us and now we are passing those inspirations onward in our own work. 

So, thank you Mr. Lucas, and I must admit….

Your sharing ignited my imagination and changed my life…. 

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My very best wishes for the success of the Lucas Cultural Arts Museum (and anything similar) for trying to give a new spark for new generations to come… 

Congrats!!!!



 (I will still bust your “boulders” about the prequels though :-)

Is it nBelievable? New nVIDIA Quadro Performance Drivers up to 200% faster?

Last year Dell Computers had sent me one of their computers to test as a post production alternative for those upset Apple’s lack of a new Mac Pro - (and FCPX as well)

So indeed I tried their Precision 5500 computer with Premiere 5.5 and this new fangled Mercury Playback engine CUDA gizmo.

 On day one my results weren’t really that “eye opening” in comparison to my old 2008 MacPro with a AMD 5770 card. In fact, I would say the old Mac Pro was doing fine in comparison. 



BUT WHY? Was I doing something wrong? It didn’t make sense, RIGHT?



So I cracked it open and unfortunately there wasn’t even a snazzy NVIDIA CUDA setup in the darn computer they sent me -  so I contacted Dell to let them know and then I had to wait for them to figure out what had happened. 

In the mean time it seemed silly and pointless to post my experience or results with the setup, especially regarding this whole Nvidia/Cuda/Mercury Playback Flux Capacitor 1.21 gigawatts thing…  

The football got pulled out of the way before Charlie Brown could kick it more or less. 

BUT…



…after over 4 months, I did finally receive the appropriate NVIDIA card setup…



AND…HOLY SH*T!!



I was amazed.  I remember I added something like 22 tracks of Gausian Blur filters and blended them on top of each other and the damn thing played without dropping frames. I began twittering my long awaited results and basically driving people nuts.

For the first time this NVIDIA/ADOBE combo was allowing me the potential to edit in a way I had never experienced before. NO RENDERING PLAYBACK of non optimized clips and effects. 

Recently during the prerelease of Premiere Pro NEXT (as it was being called then) it also appears much like I was missing the real deal NVIDIA setup in last year’s Dell experiment, the beta/prerelease versions of Premiere Pro didn’t appear to be using the NVIDIA card’s full potential either. (beta code/drivers?) 

So yesterday, as Premiere Pro CC (and the rest of the Adobe software gang) were finally released into the world - there is a little performance driver update for NVIDIA Quadro cards that appears to address the (beta code/drivers?) previous performance ratings from the beta/prerelease version of Premiere Pro.  



NVIDIA’s site claims up to 200% faster that the previous pre-release versions of Premiere Pro CC using this new driver. 



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This looks great considering using the Adobe Speed Grade created looks inside of Premiere Pro CC will become a regular workflow for us for TV/Film productions. 

So let’s put it to the test. 

Here’s the new NVIDIA Quadro Performance driver update from their site.



You LIKE me… you really LIKE me?

With the democratizing of previously expensive equipment once necessary to create artistic endeavors like music, filmmaking, photography, etc. - there is something we now have a shortage of these days…

Actual Fans…

"Dude, I can’t really spend my time listening to your album/CD/audio download because me and my cousin are working on our album/CD/audio download which is going to make us super famous and so on and so on…"

We live in a world where people can now LIKE your (insert artistic endeavor) in trade for you hitting LIKE on their (insert artistic endeavor) but do they really LIKE your “crap” or are you just trading a LIKE for a LIKE?  Seriously, how many of those LIKERS would actually LIKE you if wasn’t just a push of button? How many would show up at your show or buy your CD of music? How many of those LIKERS aren’t even real people?

Andrew LIKES Claire’s photo  AND  Harry LIKES Sally’s video… but do they really?

With so many “creators” out there where and when does the all crap get filtered out ? The crap that so many people feel obligated to help promote cause they’re a friend,  or friend’s sister,  or the hot girl at Denny’s and her hot friends with low cut, boob revealing tops are involved with?

Seriously, it’s not a secret anymore. The Internet majority are well aware that that’s the actual deal going on - so much so that LIKES of validation become background white noise. 

I know there are super nice people out there trying really, really hard to make it happen but no matter what they do they just don’t have the right kind of talent or skills to be what we used to call next level. Yes, it’s hard not to admire and want to help those people…especially if they are your friends… but I think sometimes that might be part of the problem. 

Now days, everybody gets/expects an award for effort… and more often than not they aren’t striving for respect and mastery in their craft… but for the easiest investment to getting attention and fame. 

So…

…who is out there to “knight” or “champion” the actual stuff that IS good and going unnoticed? 

Crap if I know, but if you’re reading this I’d like to take the opportunity to occasionally suggest some of these UNDERDOG things that I have found that I am an actual fan of. 

This time around, The Movie Guys   (www.themovieguys.net)

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I’ve been watching/listening to The Movie Guys podcast for a few years now and the other night I was invited to be an in studio guest.

Sure, I know them, but even if I thought they were big ole’ douchebuckets it would be hard not acknowledge their years of Chicago Second CIty comedy training, numerous theater and television acting gigs all stepping up to the plate long before audio and video ever started rolling. 

It is now recorded at the “Admiral’s Club” in the valley which is code for a one car garage near the Burbank airport flyover zone.  The cast is populated by entertainment performers who commit their free time to WRITE the show, to REHEARSE the show and actually PRODUCE and RECORD the show.   

So what, a lot of people do this…

… except I’m pretty confident in addition to admirable effort and spirit this one is more “next level" than most of the other stuff people LIKE.  

It’s a mix of clever scripted and improv that you’ll quickly realize is piloted by people who are confident and good at what they do while enjoying what they are doing at the same time. 

Even though it’s absolutely free, they don’t approach it like it’s free. It’s like listening to Chicago talk radio legends Jonathon Brandmeier and Kevin Matthews  mixed with various Sirius radio talent -  minus the cost of Sirius radio. 

But, they seem to spend more time on making content they’re proud of, so they don’t get much of the needed marketing and social networking for the show done - and I and many of us can relate.

As I say, in this new DIY world  *If you build it they will come doesn’t apply as much as if you tell them how to build it THEN they will come

So, while you’re feeling obligated to SHARE and LIKE your buddy beg his friends for money under the guise of a Kickstarter-crowdfunded short film project destined to be big hit at the prestigious film festival known as, "Congratulations, you’ve uploaded your movie to YouTube"

… instead this week, my suggestion is to give The Movie Guys a look/listen. 

Click here to listen (or subscribe) on itunes. The Movie Guys on iTunes 

Click here to listen on the web via Sound Cloud. The Movie Guys on Sound Cloud

The Movie Guys on YOUTUBE…

Here is their current highlight reel.  

And if you LIKE it… actually LIKE it,  THEN say so… and pass it on.

Imagine what they can be doing if this generated an income for them on Hulu or Sirus radio for instance.  

 *FYI: this is my f’ing quote you potentially thieving journalist :-)