Round 2 feat. Gillies // Edition #7

Here we go, the final edition of the blog posts for DV Filmmaking. For this post, I'd like to highlight problems with the current workflow of having to cross between Adobe Premiere Pro, to Davinci Resolve and Pro Tools, then back to Premiere Pro for the final pasting of the final video and audio tracks. That - and there's some good news coming from Burbank, CA this Wednesday (or some day later, down the track).


Just... Why?

It seems that with the Adobe Creative Suite, everything just seems to be perfectly in sync.

Want to edit your short film/episodes of web/tv series or even just a plain ol' online video of your family during vacation to send to your folks at home? Use Premiere Pro.

It looks like a quote, but it's just me. Assembling clips and applying the simplist of visual/audial effects on this piece of software make it greatly appreciated by many. It's simple. Sure. It has flaws - but appreciating the product for what it is, Premiere Pro obviously does the job of setting up an editing workflow and completing edits of your project well. No complaints there. Until this next part...

Want to really sort out those lil' problems with your audio? Use Audition

The main reason why I say this is because of the obvious problem that CC 2014, the latest version of the Adobe Creative Suite that the SIT Film School has, does not comply with Pro Tools that well when it comes to the compilation, rendering and general exportation of the final edit (from Premiere Pro) through an OMF to a Pro Tools project file.

What seems to happen is that the export (of the OMF) goes well. However, when you begin to import the project file - what it doesn't seem to register are the unique file names that Premiere Pro gives individual audio clips. This is incredibly frustrating, especially in my situation - given that I need to hand in three webisodic episodes (still want to pull of a Waugh in this case) - and each episode being roughly six to nine minutes each.. that's a lot of individual clip strands of audio that just build up the project, in its entirety.

You might be wondering, what does this mean? Well.. several hours of useless work of trying to relink each and every individual file to its respective placeholder, as defined within the OMF file itself, only then to find that you might not have every single audio file there. It's things like this that really pull the hair out.

Solution? Just use Audition! I mean, heck - it has a function (that I found the other day) that will conform audio to specified Loudness requirements. It would surely save a lot of time, seeing that Premiere Pro exports an XML document and renders video clips with audio - then neatly imports it into Audition, with the possibility of a rendered preview of your final edit to match any audio things by.

However, given the strict requirements set by Gillies - as to surround ones' self with "Industry Professional Software" (even though it seems that the Adobe Creative Suite itself has more than proved its usefulness to use in the realms of Filmmaking and that this software is considerably a more cheaper and efficient option than the professional latter); I'm forced to go through the torment of using Pro Tools.

Things could only get better if Pro Tools can read OMF files correctly and see where the Audio Files are, or Adobe really needs to fix its way on exporting OMF files.

Want to Color Correct? OK...

Just checking: you haven't placed effects, moved video clips across tracks, have video clips with Alpha channels, or shot your film with an incredibly proprietary codec...

Have you?

Now this is the biggest thing that really screwed me over. Yesterday, as I was just finishing the individual exportation of each clip through Da Vinci Resolve (which is not bad as a color grading software package, although the editing on the new system - I personally guarrentee - will not work on the current macs that we have in the Mac Lab; it will crash) I had created a back-up of the Premiere Pro project, with copies of each asset (even those unused), and proceeded to replacing the clips in each episode with versions that were graded. The problem then arose.

Problem: Graded Rendered Clips intentionally overwrote each other if clip was used again in the edit (especially of a shorter duration). What this ment for me on Premiere Pro, was that clips would go black on screen, even though they had in and out points that were set before the clips were originally sent to Da Vinci. To combat this, I am needed to take note of individual clips with this problem and extend the clip in Resolve to as far it will stretch and make sure that another cut of the clip, later in the project, won't be found. Thus, when I hop back onto the Premiere Pro project, things should be fixed.

This problem was just the latest in a string of problems - the first being that I needed to 'Render and Replace' clips from Premiere Pro, as the XDCAM codec - used on the F3 - is incompatible with Resolve. Simply frustraiting to say the very least. D':


Now on to something completely different

Remember Cooking, starring Tyler Baikie?
Now think.
FishCenter Live, an [adult swim] streaming show, has an International Film Festival in Burbank, CA.

Now...
Watch this.

This Wednesday (or Thurs. or Friday)
10am NZDT
It's real Patrick. It is, real.

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