Reducing flicker in Premiere Pro CS5, CS5.5, and CS6

This video by Andrew Devis on the Creative Cow website should also shed some light
on the Anti-flicker fiter.

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Changing Track Height with a keyboard shortcut in Premiere Pro CS6

Keep in mind, your tracks must be expanded for these new keyboard shortcuts to work.

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Slipping and Sliding in Trim mode in Premiere Pro CS6

slip-slideIn preparing a demo for the SF Cutters digital editing user’s group, I remembered a way to slip and slide clips in Trim mode.

Here’s how to do that:

  1. Set up edit point selection with the Ripple tool:
    • Slip: Select and Shift select edit points so that they are facing inwards from the clip (see left)
    • Slide:  Select the edit points so that they are facing outwards from the clip.
  2. Place the Playhead on the beginning or end of the clip, depending on which side of the edit you want to monitor.
  3. Launch Trim mode by pressing T.
  4. Use the JKL keys to slip or slide the frames.
  5. Press the Space Bar to preview the edit.
  6. If necessary, repeat steps 4 and 5 until you are satisfied with the edit.

This technique is also described on this video by reTooled.net beginning at 3:45. Keep in mind, as the video shows, you can also use Timeline trimming shortcuts to slip and slide edit points, as well. The technique of controlling multiple edit points is also shown.

Let me know if you find this technique useful.

You can read more about the topic on this page in Help: Slip and Slide edits in trim mode.Share on Facebook

Max out your video skills at Adobe MAX!

MAXThis year, Adobe MAX is going to be awesome! I just heard that there will be a huge emphasis on pro video this year. Held May 4-8, MAX will also offer some great video instructors to help you learn pro video applications like Premiere Pro and After Effects. Take classes from Richard Harrington, Chris and Trish Meyer, Abba Shapiro, Christine Steele, and more. There are going to be some great keynote speakers too.

Here’s more info from the MAX website:

It’s a competitive world out there, and video pros need tools that won’t get in the way of their creativity. Based on Adobe Creative Suite Production Premium, sessions in the Video track will show you how to work smarter and faster to bring your high quality productions to any screen. From pre-production through post, sessions include hands-on labs, advice from expert panels, and inspirational work by creative leaders in the industry.

 What you’ll learn:

  • The full range of tools and features that will benefit your production workflow
  • How to be a better editor using powerful trimming tools and other creative advancements in Adobe Premiere® Pro
  • A faster, more productive workflow with compositing and 3D enhancements in Adobe After Effects®
  • How to use production tools like Adobe Audition® for sound, Adobe Prelude™ for ingest and logging, Adobe SpeedGrade™ for color grading, and Adobe Story Plus for screenwriting

Intended for:

  • Post-production professionals: Filmmakers, editors, motion graphics artists, visual effects artists, multimedia professionals, videographers
  • Broadcast professionals: Those working in businesses that deliver content over networks where ad revenue is their primary revenue source
  • Educators: Those who teach media skills such as broadcast journalism or film

Pre-conference Training:

Prior to the conference, you can further max out your video post-production skills in pre-conference training sessions. A number of the tracks look interesting for pro video users. Here’s a sample:
  • Create content across screens and devices
  • Adobe Premiere Pro for experienced editors
  • Shooting and editing footage from DSLR cameras

For details about the pre-conference training, see this link: http://max.adobe.com/sessions/preconference-training.html

MAX Agenda: http://max.adobe.com/agenda/agenda-at-a-glance.html
More info and registration for MAX here: http://max.adobe.com

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Premiere Pro CS6 Keyboard Shortcuts on iOS with iKeysToGo

Now that tablet computers are here to stay, creative professionals are using them to assist with training materials, workflow guides, and keyboard shortcut lists.  I work with my tablet open to  helpful resources while working with Premiere Pro and After Effects.

iKeys To Go for Premiere Pro is a new app available on iOS which displays keyboard shortcuts for Premiere Pro CS6. Diana Weynand (author of many books on video editing) and Shirley Craig of Revuptransmedia are the ones behind iKeys to go. I’m really glad they have created an app for Premiere Pro users, as we do have a great many new people coming to the application from Final Cut Pro 7 and the Creative Cloud.

Features include:

  • A list of every Premiere CS6 command, keyboard shortcut, and definition
  • Organized alphabetically, and as Menus and Groups
  • Complete search capability of all Premiere commands
  • Definitions of every keyboard shortcut provides a quick learning tool
  • Create your own favorites list of commands and shortcuts for quick reference
  • Instructions on how to create new shortcut keys for any of the not unassigned shortcuts

They plan to create more iKeys apps for other apps for creative pros, so stay tuned.Share on Facebook

Ask a Video Pro Webinar: Jacob Rosenberg and the making of “Waiting for Lightning”

Coming on Thursday, Dec 13, from 10-11am PST, join us for webinar by Jacob Rosenberg on how Adobe CS6 tools were used in the making of pro skateboarder Danny Way documentary,  “Waiting for Lightning”. I’ll be on hand answering technical questions in the chat pod, so be sure to check it out. I think it will be especially interesting for those exploring advanced workflows with Adobe video tools like Premiere Pro and After Effects.

Sign up here: http://adobe.ly/WKRj8q

Here’s the scoop from the Online Events page:

See how the video pros behind Waiting for Lightning used high-performance Adobe post-production tools to document the life of Danny Way, one of the world’s most visionary skateboarders. This presentation will cover Bandito Brothers’ digital workflows which relied on After Effects, Adobe Premiere Pro, and other Adobe Creative Cloud tools to tell the story about how much abuse the body can sustain, how deep you have to dig to survive family troubles, and how high and far dreams can fly. Join director, filmmaker, author, and digital media expert Jacob Rosenberg of the studio Bandito Brothers for a webinar where he walks you through the making of this remarkable new, feature-length documentary and some of the breakthrough cinematography used in its creation.

Waiting for Lightning will be released on Friday, December 7 and will be playing at the Sony Metreon in SF. If you can’t make it to the theater, be sure to check it out on iTunes beginning December 7. Jacob will be attending the San Francisco screenings and doing a Q&A at 4:40pm and 7:10pm on December 8.

Article: Waiting for Lightning
See this link for recordings of more “Ask a Video Pro” webinars.

WAITING FOR LIGHTNING / trailer from Carol Martori on Vimeo.Share on Facebook

Premiere Pro CS6 FX Workshop: Advanced Effects Made Simple

As an editor, you’re often tasked with creating effects for most every production. If you’re like me, you like to stay within the editing application for creating these effects as often as possible. Though I love Adobe After Effects (and other specialty compositing apps), it is often simpler to create a video effect within Premiere Pro. The advantages are numerous, but the most salient one is that it’s often faster to create an effect in Premiere Pro than to jump to a dedicated compositing application. Many editors are not familiar with the powerful compositing and effects capability within Premiere Pro, so getting some guidance in creating effects within the application is really important.

In Maxim Jago’s latest training series by video2brain, “Premiere Pro CS6 FX Workshop: Advanced Effects Made Simple,” you’ll get the help and information you need to create beautiful and complex effect within Premiere Pro. In these video tutorials, learn such things as how to apply color correction, work with slow motion, stabilize shaky footage, apply blurs, and develop important skills for video effects work. You’ll also learn about After Effects CS6, both as a standalone tool for effects creation, and how to work with it in concert with Premiere Pro CS6.

Here are some free video tutorial samples to get you started:
Adjustment Layers
Combining Transition Effects
Time Remapping
The Cell Pattern Effect

Pages in Help documentation describing effects workflow:

About effects Applying, removing, finding, and organizing effects
Motion: position, scale, and rotate a clip Audio effects and transitions reference
Viewing and adjusting effects and keyframes Creating common results
Applying effects to audio Duration and speed
Working with audio transitions Effects and transitions reference
Effect presets Eliminate flicker
Transition overview: applying transitions Interlacing and field order
Color correction and adjustment Modifying and customizing transitions
Adjustment Layers (CS6) Three-way Color Corrector effect (CS6)
The rolling shutter repair effect (CS6) Stabilize motion with the Warp Stabilizer effect (CS6)


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Take part in a new Adobe contest: “No App Is an Island”

Adobe is having a new contest called, “No App Is an Island.” Create a tutorial showing how 2 Adobe apps integrate, and you could win some cool prizes. For Premiere Pro and After Effects users, showing how dynamic link works between the apps would be an example of a tutorial we are looking for. For details, go here: http://adobe.ly/QSsiHo.Share on Facebook

Timeline trimming in Premiere Pro CS6

Most editors like to trim directly in the Timeline. Using tools and common techniques, it’s the easiest and one of the fastest ways to trim edits. This article shows you how to trim (ripple and roll edit) in the Timeline using keyboard shortcuts and other techniques in Premiere Pro CS6. Trimming clips without grabbing for the mouse repeatedly will definitely speed up your workflow.

For a detailed explanation of trimming in the Timeline using Premiere Pro CS6, including ripple and roll edits, see this Help article.

Timeline trimming is different in Premiere Pro CS6
Trimming in the Timeline in Premiere Pro CS6 is different than previous versions of Premiere Pro. In Premiere Pro CS6, edit points are selected and then trimmed using trim tools and keyboard shortcuts. In Premiere Pro CS5.5, and earlier, edit points did not need to be selected first, however, there were few keyboard shortcuts for trimming. Trimming was mouse-centric prior to Premiere Pro CS6.

Editors coming from other editing applications will find familiar techniques, but also more helpful keyboard shortcuts for Timeline trimming (like Ripple Trim to Playhead), that were formerly missing in programs, like Final Cut Pro.

Selecting edit points
You select edit points for clips in the Timeline prior to trimming using keyboard shortcuts. Though you can select edit points with the selection tool, or a trim tool using the mouse, you can also do so very quickly by using keyboard shortcuts. You know when an edit point is selected when the following occurs:

  • A thin red cursor is visible on the In or Out Point, representing a Trim In or Trim out selection.
  • A thin yellow cursor is visible on the In or Out Point, representing a Ripple Trim In or a Ripple Trim Out selection.
  • A thick red cursor is visible on the In and Out Points, representing a Roll selection.

Some keyboard shortcuts suggestions for "Select Nearest Edit"

Some keyboard shortcuts suggestions for “Select Nearest Edit”

Keyboard shortcuts for edit point selection

There are keyboard shortcuts for selecting edit points using keyboard shortcuts. Note that these operations are dependent on the playhead position and require that the proper tracks be targeted.
  • Use the following “Select Nearest Edit Point” keyboard shortcuts to select an edit point:
    • Select Nearest Edit Point as Ripple In
    • Select Nearest Edit Point as Ripple Out
    • Select Nearest Edit Point as Roll
    • Select Nearest Edit Point as Trim In
    • Select Nearest Edit Point as Trim Out
    • Go to Next Edit Point (with edit points remaining selected): Down key
    • Go to Previous Edit Point (with edit points remaining selected): Up key

Note: You will need to create custom keyboard shortcuts to use most of these keyboard shortcuts.

When using these shortcuts, if the playhead is not already at an edit point, it is moved to the nearest edit point either forward or backward. Then the edit points at the playhead on all targeted tracks are added to the current edit point selection, using the type of trim for the particular shortcut. You can use the menu item (or shortcut) for Edit > Deselect All to deselect edit points before using these shortcuts to start a new selection.

Toggle Trim Type
If an edit point is selected with the wrong trim type, you can toggle between the types of trims in the current edit point selection with a keyboard shortcut. Press Shift+T (Windows), or Ctrl+T (Mac OS) to cycle. The cycling order is Ripple Out, Ripple In, Trim Out, Trim In, and Roll Edit.

Performing a Timeline trim using keyboard shortcuts or numeric keypad entry
Once edit points are selected, trims using keyboard shortcuts can be performed in the Timeline two ways:

  • Keyboard shortcuts can be used to trim selected edit points to the right or the left by one or more frames.
  • Type frame amounts the numeric keypad with “+” and “‐” and the Enter key to trim all the selected edit points forward, or backward. You do not need to type the “+” sign when entering positive numbers.

Trim with keyboard shortcuts
The following keyboard shortcuts perform a trim whenever and edit is selected. If the full amount of the trim cannot be performed, the allowable amount is used and a tool tip indicates that the trim is blocked or limited by media or minimum duration. As you use keyboard shortcuts to trim in the Timeline, the frame will update in the Program Monitor at the position of the playhead. The Timeline view updates, as well.

  • Trim Backward and Trim Forward: Moves the edit points by one frame in the specified direction (left for backward, and right for forward). Press Ctrl + Left or Right (Windows), or Option + Left or Right (Mac OS).
  • Trim Backward Many and Trim Forward Many: Moves the edit points by five frames, or some other number of frames which is settable in the large trim offset preference. Press Ctrl + Shift + Left or Right (Windows), or Option + Shift + Left or Right (Mac OS).
  • Extend Selected Edit to Playhead: Moves the selected edit point which is nearest the playhead to the position of the playhead, much like a rolling edit. For an extend edit, press E.
  • Ripple Trim Previous Edit to Playhead and Ripple Trim Next Edit to Playhead: Ripple trims the previous or next edit point to the Playhead. Sometimes called “Top and Tails.”
  • Trim In Point to Playhead and Trim Out Point to Playhead: Trims the In or Out Point to the Playhead. This method of trimming leaves a gap behind and does not need edit points to be selected.

Trim with numeric keypad entry
You can specify a numeric offset using the numeric keypad whenever there is an active edit point selection. When the Timeline is active, the current timecode indicator on the left becomes a text box that shows the numbers that are typed on the numeric keypad. The “+” key moves the trim forward to the right, increasing in time. The “­‐” key moves the trim backward to the left, decreasing in time. The numeric offset is typically a small number of frames, so any number from 1 to 99 is treated as frames. If you want to specify a timecode, then use the numeric period key “.” to separate the minute:second:frame parts for timecode entry. Press the numeric keypad Enter key to perform the trim using all of the currently selected edit points.

This video from reTooled.net shows trimming with numeric keypad entry (near the beginning of the video).

Slip and Slide edits in the Timeline using keyboard shortcuts
To many editors, a slip or slide edit is basically a trimming maneuver. Many editors create slip and slide edits by simply dragging with the slip and slide tools directly in the Timeline. That’s fine, but there are ways to make a slip or slide edit by using keyboard shortcuts. Just select the clip, and then press the following keyboard shortcuts:

  • To slip an edit to the right by one frame, press Ctrl + Alt + Right (Windows) or press Option + Command + Right (Mac OS)
  • To slip an edit to the right by five frames, press Ctrl + Alt + Shift + Right (Windows) or press Option + Shift + Command + Right (Mac OS)
  • To slip an edit to the left by one frame, press Ctrl + Alt + Left (Windows) or press Option + Command + Left (Mac OS)
  • To slip an edit to the left by five frames, press Ctrl + Alt + Shift + Left (Windows) or press Option + Shift + Command + Left (Mac OS)
  • To slide an edit to the right by one frame, press (Windows) or press Option + . (period) (Mac OS)
  • To slide an edit to the right by five frames, press (Windows) or press Option + Shift + . (period) (Mac OS)
  • To slide an edit to the left by one frame, press (Windows) or press Option + , (comma) (Mac OS)
  • To slide an edit to the left by five frames, press (Windows) or press Option + Shift + , (comma) (Mac OS)

Mouse tips
Though you will speed up trimming by using keyboard shortcuts alone, there are certain times you may want to use the mouse for edit point selection and trimming. Of course, dragging with the mouse using a Ripple Edit tool or the Rolling Edit tool will perform a trim based on those tools. Here are some tips for using the mouse while trimming in the Timeline.

  • With the mouse, you can select any edit with a trim tool, and then trim by entering a frame offset with the numeric keypad, or by using keyboard shortcuts for trimming frame by frame or by large trim offset.
  • With the mouse, you can Shift select multiple edit points, and then trim by entering a frame offset with the numeric keypad, or by using keyboard shortcuts for trimming frame by frame or by large trim offset.
  • Right click (Windows) or Control click (Mac OS) any edit point with the mouse and you’ll have the following options:
    • Ripple Trim In
    • Ripple Trim Out
    • Roll Edit
    • Trim In
    • Trim Out
    • Apply Default Transitions
  • With the mouse, press the Shift key to select
Note: You can change the large trim offset amount in Preferences > Trim.
Checking your edits
After making a trim in the Timeline, you can watch it play back before committing to the edit and moving on to the next task. Many editors simply click the Playhead and drag it back, then press Play to evaluate the edit. This is fine, but too slow and cumbersome, in my opinion. I was taught to call this technique, “loop before you leave!” I play while looping around the new edit point a few times to ensure the timing and rhythm feel right. When working in trim mode, the edit loops automatically. You really do want to have this capability in the Timeline, as well. Here are some tips to monitor your edits after you’ve made a trim.
  • Set In and Out points around your edit so that you can use Play In to Out, or press Ctrl + Shift + Space (Windows), or press Option + K (Mac OS).
  • If you don’t want to set In and Out points, park the Playhead on the edit and then use the Play Around command, or press Shift + K.
  • Click the “Loop” button so you can see your edit play back a few times. You can find the command in the panel menu. You can also set a custom keyboard shortcut for Loop in the Keyboard Shortcuts dialog.
Note: If you want buttons for Play In to Out, Play Around, or Loop commands, add them with the Button Editor. Play Around pre-roll and post-roll can be adjusted in Preferences > Playback. I like to view around 2 seconds of footage before and after an edit as it loops.
Note that it’s completely possible to trim an edit as it is looping during playback, however, this technique is not officially supported. That said, this was a technique I used to use frequently in other NLEs. For more information on trimming in the Timeline while looping playback, see this article by Clay Asbury on the Premium Beat website.

Spend some time creating and experimenting with keyboard shortcuts for trimming. Also, try trimming without using the mouse at all. With enough practice and repetition, you’ll be speeding up your trimming workflow like nobody’s business!

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Smart Rendering in Premiere Pro CS6 (6.0.1, and later), & Premiere Pro CC

Smart rendering in Premiere Pro has been available for DV and DVCPro formats for years, but since Premiere Pro CS6 (6.0.1), many more formats have been added.

In Premiere Pro CS6 (6.0.1, and later), smart rendering capability has been added for Long GOP MPEG2 OP1a exports, where the original material is a matching long GOP MPEG2 OP1a or XDCAM EX file. The intention is that smart rendering creates better quality output by avoiding recompression when possible.

For Premiere Pro CS6 users, update Premiere Pro CS6 to get the full benefit of this feature.

In Premiere Pro CC, additional codecs have been added for smart rendering (scroll down for details).

  • AVC-Intra in MXF (located in Format > MXF OP1a)
  • DNxHD in MXF (located in Format > DNxHD MXF OP1a)
  • DNxHD in QuickTime
  • ProRes in QuickTime
  • Animation in QuickTime

Premiere Pro engineer, Wil Renczes, explains how smart rendering works in Premiere Pro CS6 (6.0.1, and later):

What is it? (probably obvious, but I’ll start at the beginning):
The feature is specifically for accelerating render times for long GOP MPEG2 and essences and certain QuickTime codecs (in Premiere Pro CC), while avoiding recompression.

Which new formats are now accelerated?
Source media that is either XDCAM HD in an MXF wrapper (ie 4:2:0 XDCAM HD @ 18/25/35 mbits/second, or 4:2:2 XDCAM HD @ 50 mbits/sec.), or XDCAM EX (.mp4 wrapper within a BPAV folder structure, 18/35 mbits/second).

Scroll down for formats introduced in Premiere Pro CC.

What do I have to do for it to work?

Nothing for DV or DVCPro formats, smart rendering automatically engages. For XDCAM formats, check the checkbox for smart rendering in the XDCAM exporter plug-in.  If you have these types of clips in your timeline in a sequence with matching settings, are exporting out to MXF OP1a with a matching preset, and the checkbox is checked in the XDCAM exporter plug-in, it’ll engage. It’ll also figure out if there’s any effects applied and fall back to regular rendering if needed.

Can I turn it off?
Uncheck the checkbox in the XDCAM exporter plug-in.

How do I know it’s working?
Excellent question.  Since it’s supposed to work seamlessly, there are no hints in the UI as to what’s going on. As an engineer, we can check out conflicts in a debug console window. If there are any mismatches, then smart rendering won’t occur. Unfortunately for the user, there is no way to test if smart rendering is working other than noting an accelerated workflow, and less generational loss.

What kind of acceleration are we talking about exactly?
Well, the idea is that for untouched clips, recompressing frames is probably going to take longer than simply copying the data directly from the source clip.  Now, it’s not quite as simple as that, as if you have edit points that don’t land on I frame boundaries, then there’s some partial GOP ’healing’ that needs to happen, but we don’t need to get into the nitty gritty here.  Anyway, provided you have good disk i/o, the render numbers are a fair bit better.

Testing indicates that the render numbers are anywhere from 4x to 12x faster than realtime.  On my own benchmarks (off a single drive, SATA 3 mind you, but still), a regular render of XDCAM HD 4:2:2 at 50 mbits is usually 2x realtime.  With smart rendering enabled, the same clip now renders at 6x faster.  Not too shabby.  And, the lower the bitrate, the faster it renders (less data per frame to copy, so it can do more at the same transfer speed).

Okay, I’m trying to smart render an XDCAM EX clip out to OP1A, and why isn’t it smart rendering?
This is probably the trap that most people will fall into when trying it for the first time.  For example, if I pick an EX clip, 35 mbits/sec, shot at 24fps.  Then, I drop it into a matching sequence, pick the XDCAM HD 1080 35 NTSC 24p preset, and hit render.  However, if I check it on the console, I see errors.

Why the heck is that?
XDCAM EX footage is at a full 1920 x 1080 raster size.  XDCAM HD 4:2:0, on the other hand, is actually 1440 x 1080 with a PAR adjustment.  So we can’t smart render this, the frame sizes are different.

Wait a second, didn’t you say that EX is a supported smart render format!? Quit foolin’…
Why yes, it is. It’s just a problem with the preset. We don’t have prebuilt presets for EX material in the OP1a exporter’s list of available presets to choose from,  so if you want to smart render EX material, you’ll need to create a preset with the right settings.  So, going back to my example, if I go to the Video Settings and look under the Video Codec list, and pick XDCAM EX 35 NTSC 1080 (4:2:0), now it’ll smart render.

Well, that’s a little confusing.
Agreed. The feature really was initially meant for XDCAM HD workflows, which you have all the presets available for.  The EX was kind of a bonus request that we threw in based on a specific request from a broadcaster.

What other kinds of errors will potentially bork smart rendering?
Weird ones: mismatches between your source media & the settings you pick to render out to – things that aren’t immediately obvious (but the console window will tell you). For instance, your source file’s MPEG GOP structure doesn’t match the destination, or the source is VBR but you picked a CBR preset, or the bitrate is too different, or there’s a frame size mismatch.  All these conditions will make it fall back to regular rendering.

Will this smart render take advantage of my preview files so that my final render is that much faster?
Sadly, no.  We’d have to enable XDCAM HD as a preview format option, but then yes, this would suddenly work.  Great feature request, feel free to pass it along! (Make a feature request here: http://www.adobe.com/go/wish).

Smart Rendering Formats updated in Premiere Pro CC

In Premiere Pro CC, the following formats are accelerated:

  • AVC-Intra in MXF (Format > MXF OP1a)
    • AVC-Intra Class50
    • AVC-Intra Class100
  • DNxHD in MXF (Format > DNxHD MXF OP1a)
  • DNxHD (QuickTime)
  • ProRes (QuickTime)
    • ProRes Proxy
    • ProRes LT
    • ProRes 422
    • ProRes 422 (HQ)
    • ProRes4444
  • Animation (QuickTime)

Details about smart rendering can be found in this video by reTooled.net

Premiere Pro New Features – Smart Render for ProRes and Preview Files from reTooled.net on Vimeo.

Thanks to Wil Renczes for the content of this post.Share on Facebook