Archive for October, 2011

Exporting Sections of a Sequence

Recently on the Creative Cow forum, editor Frank Bokoski Jr. ran into a little trouble exporting from Premiere Pro. Specifically, Frank wanted to export segments of his sequence the way he did in other applications. When exporting, Frank set In and Out points on the timeline and then attempted to export only this section. Frank found that the In and Out points were being ignored. So the question remains: how does one export only a segment of a sequence?

Fortunately, Premiere Pro experts Ann Bens and Jeff Pulera stepped in to help. Jeff offered up the workflow, while Ann provided specific details (like keyboard shortcuts and step order) for that workflow. Here are the steps for exporting segments of your sequence:

  1. Place the playhead at the in point and type ALT+[
  2. Place the playhead at the out point and type ALT+]
  3. Choose File>Export>Media
  4. Set the Source Range menu to Work Area (bottom left)
  5. Adjust any the rest of the output settings, if desired
  6. Click the Queue button
  7. Adobe Media Encoder opens
  8. Click the Start Queue button
  9. The encoding process begins
  10. Repeat this process for all the segments you wish to export
You can also export your entire sequence from Premiere Pro by choosing File>Export>Media. Once in Media Encoder, you can drag the orange in and out points (just above the Source Range menu) to include a segment prior to exporting. However, most people find the previous method of exporting the Work Area to be more quick and precise.

Use the Source Range menu to choose Work Area

Use the Source Range menu (bottom) to choose Work Area

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Adjusting the audio levels of multiple clips in Premiere Pro

In Creative Cow’s Premiere Pro forum, FCP switcher and award-winning editor (Good Eats, CNN, This American Land) Walter Biscardi wanted to know how to raise the audio level for one or more selected clips as he used to in Final Cut Pro in the Gain Adjust dialog. Walter finds this option useful when raising or lowering voice overs by the same amount, for example. This is so important to Walter that he recorded a “Gotchas” tutorial video explaining to others how to invoke audio gain. Though you might want to watch the entire video, go to 10:12 to see Walter’s tips for Audio gain. More info about the Audio Gain dialog is found in Premiere Pro Help.

A fully featured Audio Gain dialog box

A fully featured Audio Gain dialog box

Premiere Pro super user and now an Adobe Employee, Jon Barrie offered up the right piece of advice. Here are his steps:

  • Create a keyboard shortcut for the Audio Gain dialog (Jon assigned it to Shift+G, but you can also assign it to Option+CMD+L if you like).
  • Select the clips you wish to adjust the audio for.
  • Type the shortcut for Audio Gain (note that there are a lot of options here). You can also right-click on any clip and choose>Audio Gain, or select a clip or group of clips and then choose Clip>Audio Options>Audio Gain.
  • Choose one of the options: Set Gain to (Absolute in Final Cut Pro) or Adjust Gain by (Relative in Final Cut Pro).
  • Enter in a value for dB or click and drag to scrub to a new value.
  • As you change the value, you should see the audio waveform changing in the timeline. These levels can go further than Final Cut Pro’s limit of 12 dB.

Controls for the Dynamics effect are shown here

Controls for the Dynamics effect are shown here

Jon adds, “This function doesn’t affect the levels band, it still reads as 0 and you can manipulate it as though the gain added or removed is a level of 0 on the levels band.” He also notes that in the dialog, the loudest peak level of the selected clips is visible, so you can see the amount of gain you have before it distorts. Adding the Dynamics effect to limit the levels will further keep anything from distorting. Note that in this dialog you can normalize all peaks or max peaks, as well.

Audition processes clips so that the volume matches

Audition processes clips so that the volume matches

On the same thread, Editor David Cherniack added another tip for balancing audio clips: send the clips to Audition.

  • Create sequence with the clips that need to have the volume matched.
  • In the sequence, select the clip and choose Edit>Edit in Adobe Audition>Sequence.
  • Once in Audition, choose Effects>Match Volume.
  • Drag and drop the clips into the Match Volume dialog.
  • Click the Batch Process button.
  • The clips then will process for matching volume.
  • Choose File>Save.
  • Send the Audition sequence back to Premiere Pro by choosing Multitrack>Export to Adobe Premiere Pro.

The newly sweetened audio will now be imported back into Premiere Pro.

So there you have it! Some great and simple audio tips to help you adjust the levels of multiple clips using Premiere Pro. Audition too!Share on Facebook

How to revert Dynamic Link with After Effects comp to original clip

A disabled copy of the clip above the dynamically linked clip provides an "escape hatch"

A disabled copy of the clip above the dynamically linked clip serves as an "undo"

On the Creative Cow Premiere Pro Basics forum, editor Gates Bradley ran into a common problem affecting Premiere Pro users that use After Effects via Dynamic Link.  Editor Jacob Kerns had the issue in the other Premiere Pro forum at Creative Cow. James Graham had the same issue on that forum, as well. This seems to be a common misunderstanding among Premiere Pro editors.

What is Dynamic Link first of all? Dynamic Link is the protocol that is used to translate clips and sequences between Adobe Premiere Pro, Encore, and After Effects. For example, you could replace a clip with an After Effects composition directly in the Premiere Pro timeline. The problem is that Gates and other users wish to get the Premiere Pro timeline back to its original state: before the clip was dynamically linked to an After Effects comp.

Why would he want to do this? After all, After Effects is the epitome of powerful software for video compositing. Well, there are times when you’ve gone far down the path of using After Effects with dynamically linked clip(s), and then you change your mind. Perhaps you wish to keep things simpler and rework the effect in Premiere Pro. Maybe you weren’t aware of the lowered playback performance of a dynamically linked After Effects comp in a Premiere Pro timeline. It’s also possible that a client comes in with a change that forces you to alter the shot well after you’ve started the project. For these cases (and others not mentioned here), you’ll sometimes need more than a simple “undo”, you’ll need a strategy to get you out from under Dynamic Link if you need to. Let’s take a look at some of the techniques to help you get there.

First and foremost, if you are working in a current project, you can simply choose Edit>Undo back in Premiere Pro after sending a clip to After Effects via Replace with After Effects Composition. Simple. The clip will be restored to its original state.

If you are beyond Edit>Undo, you can try one of the following:

  • Jeff Greenberg and Alex Udell offer that you can Edit>Copy the clip in After Effects and then Edit>Paste it back into the Premiere Pro timeline.
  • Tom Daigon recommends that you copy and paste the clip to an upper video track (and then go to Clip>Disable to turn it off) to act as a safety before you send the original clip to After Effects via Dynamic Link.
  • Ann Bens advises you to create a copy of the clip in the Project Panel for later use.
  • I suggest that you can delete the After Effects composition from the timeline, perform a matchframe using the audio portion of the clip, perform a mark clip, and then overwrite the clip back into the timeline.

With these pointers, you’re sure to be able to restore your timeline to its original state. Thanks to Colin Brougham, Jeff Greenberg, Alex Udell, Tom Daigon, and Ann Bens for their input on this topic.Share on Facebook

Rendering Synthetic Objects into Legacy Photographs

In the future, you'll be able to animate realistic images into a 2D scene

In the future, you'll be able to animate realistic images into a 2D scene

Want to see some cool tech in action? How about adding inanimate objects to your 2D images so convincingly, so real, you won’t believe it? Then I think you might be really impressed with this demo. Check it out!

Rendering Synthetic Objects into Legacy Photographs from Kevin Karsch on Vimeo.

Supplementary material video for our 2011 SIGGRAPH Asia paper (see the project page here: http://kevinkarsch.com/publications/sa11.html). 3D objects are rendered using LuxRender (http://www.luxrender.net).

Authors: Kevin Karsch, Varsha Hedau, David Forsyth, Derek Hoiem

Abstract: We propose a method to realistically insert synthetic objects into existing photographs without requiring access to the scene or any additional scene measurements. With a single image and a small amount of annotation, our method creates a physical model of the scene that is suitable for realistically rendering synthetic objects with diffuse, specular, and even glowing materials while accounting for lighting interactions between the objects and the scene. We demonstrate in a user study that synthetic images produced by our method are confusable with real scenes, even for people who believe they are good at telling the difference. Further, our study shows that our method is competitive with other insertion methods while requiring less scene information. We also collected new illumination and reflectance datasets; renderings produced by our system compare well to ground truth. Our system has applications in the movie and gaming industry, as well as home decorating and user content creation, among others.

This is a REALLY cool video and some amazing tech. Be sure to watch and share.


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The State of DSLR Video Editing

Rich Harrington on the Planet 5D podcast

Rich Harrington on the Planet 5D podcast

Premiere Pro and After Effects trainer, editor and author Richard Harrington, recently had the chance to be a guest on the Planet 5D podcast. He talked about the state of the art in editing HDSLR footage and more. Worth checking out.

Watch for free here.

podcast #52 Richard Harrington from planetMitch on Vimeo.


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