Here's another collection of news on tutorials, tips, and related tools assorted with Adobe Premiere Pro.
Imagineer Systems mocha 4 products have been updated to now support roto mask export to Adobe Premiere Pro CC 2014. Premiere Pro editors can now import multi-layered mocha masks into any effect, even with a simple copy and paste, to isolate color correction, blurs, and more.
To see what Premiere can do natively or with After Effects, check out Prolost's Mask Tracking and Color Grading in CC 2014, which uses the new features to color grade with Colorista II and Magic Bullet Looks 2.5. Note that users can add more polygon mask points in Premiere by using CMD/CTL-click! There's more in Adobe Help.
Getting back to mocha, Adobe Premiere Pro export is now found in both mocha Pro and mocha Plus. Here's a quick look, Export to Adobe Premiere Pro CC Masks:
Earlier, in Planar Tracking Workflow for Avid and Premiere with Mocha, Imagineer Systems product manager Martin Brennand shows how to use mocha’s planar tracking to solve a difficult cell phone screen track that moves offscreen and out of focus. He then use Boris Continuum Complete 9 Corner Pin plug-in to import the track data into both Avid Media Composer and Adobe Premiere Pro CC. Both mocha AE v3 and mocha Pro v3 support BCC tracking data imports.
Other options for Corner Pin in After Effects/Premiere include Corner Pin (ehh), CC Power Pin (see Unstretch option), Red Giant Warp (compare with AE), and ReVision RE:Map. In addition, MochaImport+ has a function to stabilize the clip using corner pin data (using CC Power Pin or Red Giant Warp) without precomposing the layers of different sizes. Tracking is covered in After Effects Apprentice video lessons from Chris and Trish Meyer, and in Corner pin tracking magic on Andrew Kramer tutorials.
From Adobe Premiere Pro Help / Install additional speech libraries… “The Speech Analysis tool in Adobe Premiere Pro and Prelude allows you to examine the audio of a video file for an automatic transcription. However, the tool only transcribes the audio of the language that was originally installed. Additional language packs are available for download. They allow Adobe Premiere Pro and Prelude to transcribe a greater variety of languages. You can see the available languages in the Speech section of Analyze Content dialog box. Uninstalled packs are listed, but are dimmed…” Follow the link for installation instructions (see also Add-Ons).
Jonny Elwyn listed Three Things You Need To Know About Premiere Pro CC:
- Premiere Pro CC Generates Useful Junk (assets conformed to settings)
- How Premiere Pro CC Handles Audio Channels
- Moving a Timeline From One Project To Another
Oliver Peters discussed Using FCP X with Adobe CC (Photoshop, Audition, After Effects).
Sean Frangella posted Adobe Premiere To After Effects – sending and linking projects, Editing and Compositing Tutorial. Sean shares workflow tips using project import options and dynamic link connections between the two apps. Evan Abrams also had something similar not long ago with Adobe Premiere Pro to After Effects Workflow.
Surfaced Studio posted text and video, VFX Vlog 11 – Adobe Premiere and After Effects Integration:
In a Post Production Quick Tip, Renaming Audio and Video Tracks, Walter Biscardi showed how renaming audio and video tracks in Premiere Pro CC can improve organization, collaboration, and finish and revision.
Kylee Wall has a quick tip, Premiere Pro CC Sequence Won’t Render? Try this.
“Go to your sequence settings and change the codec being used to render video previews. Like if it’s iFrame Only MPEG, change it to ProRes or something. You’ll get a warning that says all the video previews must be deleted to do this. Say yes. Then you can switch it back if you want. Now it should render.”
Biscardi also posted Editing Tip: Still Image dpi vs. pixels to dispel confusion about DPI vs. pixels in video. Adam Wilt has made the same point for awhile: dots per inch is not consider in video, a point discussed by Say No to 72 dpi by A few scanning tips. Print-oriented designers often don't realize that frame size is what matters, but you can use Photoshop is trade DPI for pixels. There is of course more to video resolution than pixel count, but compression, color depth, and chroma subsampling are other matters.
Check out How to update multiple titles in Premiere Pro using InDesign from Paul Murphy. For more on automating titles and lower thirds in Adobe Premiere Pro and After Effects, see Free Lower Thirds and Title Resources.
Ian Killick explains Adobe Premiere Pro CC 2014 Master Clip Effects:
Earlier, Ian Killick discussed Motion Paths in Premiere Pro CC:
Sean Mullen of Rampant Design showed how to Use Animated Mattes to Stylize Your Edit in Adobe Premiere Pro. Rampant also provides a handful of 4k mattes for free, which can be used by any app that reads QuickTime files.
Another video from Rampant Design Media shows how to Use Real Lens Flares to Stylize Your Edit in Adobe Premiere Pro. They're selling footage of flares (500 to choose from), but you get a few free 4K flares, and of course you can use your own flare from any source. For much more on lens flares and lens flare generator plug-ins, see Lens Flares in After Effects, an updated roundup on creating and using lens flares.
Tangent FX, also has a newer pack of lens flares, Designed Light Effects, created by Harry Frank of Graymachine.com. This package reflects Harry's long-term interest in breathing new life into Lens flares: “Designed Light Effects are a new generation of flare effects rooted in graphics and design. Moving away from the idea of simulating a lens, or capturing within a real lens, we started from scratch. We created our own elements, our own behaviors, our own types distortion.” There's even a with tutorial for installation and usage.
Cinemartin PLIN is a new plug-in for Adobe Premiere Pro (from Spain) that exports directly to Apple ProRes and H.265. You can also select the framerate, aspect ratio, and resolution up to 4K DCI compatible.
Film Riot posted Quicktips: Framing Your Shots! with tips on changing aspect ratio and adjusting framing, both by scaling and editing 4k footage. See also 4K in Premiere Pro with Thunderbolt on HP with video from Adobe's Dave Helmly and Optimizing performance in Premiere & After Effects: Some resources.
Also useful for some is Camera Movement for Video Production with Eduardo Angel.
Curtis Judd covered Basic Multi Camera Syncing and Editing in Premiere Pro CC.
Sound Mind discussed Pan vs. Balance on Adobe Premiere Pro.
The interview [Frame of Reference] with Editor the Worst Editor Ever is a concentrated dose of in-jokes from @, who is a nice complement to Clients from Hell. Here's an excerpt:
What style of editing have you done? (Narrative/Documentary/News/Corporate/Wedding/Etc)
Pretty much all of ‘em. Weddings are frickin’ sick though; I like to intro with a quick Michael Bay / Tony Scott style montage, then bring it into a more French New Wave vibe for the ceremony and wrap things up with a modern sci-fi oeuvre; composite-moding those blue anamorphic flares to evoke the enigmatic mystery of endless love.
A few months ago, Jonny Elwyn posted Insights on Editing Top Television Shows. BTW, there's a bunch of similar interview with editors on Moviola. Here's a sample from the videos Jonny Elwyn collected, Kelley Dixon Editing Breaking Bad Part 1 from the August 2013 Los Angeles Creative Pro User Group Meet.
Note that this roundup is for quick review and comparison. There is almost always vital information from the originating authors at the links provided — and often free presets, plug-ins, or stock footage too.