Archive for October, 2012

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:

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 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!

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:

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

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

Thanks to Wil Renczes for the content of this post.

QuickTime HDV file issues in Premiere Pro CS6 (Windows)

Working with HDV QuickTime files generated on a Mac in a Windows version of Premiere Pro? If so, you may have run into a problem with the video portion of the clip not displaying. This issue is related to Apple not including the HDV component in the Windows version of QuickTime.

If you need to have access to the HDV QuickTime files on your PC, you have a few options:

  • Purchase the Calibrated{Q} XD Decoder for PCs. This allows you to read QuickTime XDCAM and HDV QuickTime video files.
  • Transcode the files to another codec on a Mac
  • Transcode the files to another format using a program like VLC.

Thanks to Walter Soyka for pointing this out.

Support for growing files in Premiere Pro CS6

Premiere Pro CS6 provides tools for editors working in diverse fields. For example, there are editors that need to handle video files that continuously grow in duration. Growing files are generated at live events, sports, broadcast, and others. These video files are referred to as “growing files.” Premiere Pro CS6 supports growing files for those needing that workflow.

Supported codecs for growing files include:

  • AVCI50/100
  • IMX30/40/50
  • RDD9-compliant XDCAM HD 50/35/25/18
  • QuickTime wrapped reference files in these formats are supported in Premiere Pro CS6 (6.0.2), and later

Support for growing files to automatically refresh, and how often they should refresh, is available in Media Preferences. The updated duration can be viewed in the Source Monitor. See Media Preferences for details.

Ingesting or capturing media for growing files can only take place if Premiere Pro can read the volume (Premiere Pro can read footage from a unc path (“//somewhere/something”), but the drive must be mapped (“H:\somewhere\something”). The file can then be imported using the File > Import command.  You can then edit with these clips as you normally would any other clip.

Note: growing files cannot be ingested through the Media Browser.

For growing files support for all current formats, update to Premiere Pro CS6 (6.0.2).

Video Production with Creative Suite 6 by Maxim Jago

Maxim Jago presents a new video tutorial series by video2brain entitled, “Video Production with Creative Suite 6.” In this series, Maxim shows the methods for video post-production by using a number of applications in Creative Suite CS6. More importantly, he shows how the applications interoperate for a smoother workflow.

Although one of the most powerful features of Creative Suite has always been integration, the best way to share work between applications is not really known by most users. In this video tutorial series, Maxim Jago shows you the steps to use the best applications for the task at hand, and then how to integrate that work into other applications for further refinement, or output. If you want to be able to use Adobe Creative Suite CS6 to its ultimate for video post-production, this series can be a great help.

See this page on the video2brain website for full details.

Free Video Tutorials
Introduction to Multi-Application Post-Production
Improving Speech-to-Text Analysis
Preparing Images for Video in Photoshop
Sending Work from Premiere Pro to After Effects
Other topics in the series Related topic in community content or Help
Introduction: An Overview of Dynamic Link and Round-Tripping Adobe Dynamic Link (CS6)
Dynamic Link vs. Round-Tripping About Dynamic Link
One-Way Trips and the Edit Original Command Edit a clip in its original application 
Using Breakdown Report Producing Breakdown Reports for Production and Post
Organizing Projects with Prelude The Prelude workspace
Sharing Prelude Rough Cuts with Premiere Pro Rough cuts
Browsing in Bridge View and manage files in Adobe Bridge 
Batch Renaming with Bridge Automate tasks in Adobe Bridge
Editing Metadata with Bridge Label and rate files 
Preparing Images for Video in Illustrator Preparing and importing Illustrator files
Using Illustrator Files in After Effects Continuously rasterize a layer containing vector graphics
Using Illustrator Files with the Premiere Pro Title Tool Add images to titles
Working with Photoshop Files in After Effects Working with Photoshop and After Effects 
Working with Photoshop Files in Premiere Pro Working with Photoshop and Premiere Pro 
Creating Audio for Video with Audition Working with video applications 
Sending Work from Premiere Pro to Audition Edit audio clips from Adobe Premiere Pro or After Effects
Round-Tripping a Soundtrack from Premiere Pro to Audition Edit audio in Adobe Audition
Preparing Content for Premiere Pro in After Effects Working with Premiere Pro and After Effects 
Preparing Content for After Effects in Premiere Pro Create and link to After Effects compositions with Dynamic Link 
Sending Work from After Effects to Premiere Pro Import an Adobe Premiere Pro project 
Outputting Pre-Graded Shots for the Edit from SpeedGrade Offline editing and grading workflow
Sending Work from Premiere Pro to SpeedGrade Send a sequence to Adobe SpeedGrade CS6 
Share Sequences Between Premiere Pro and Encore with Dynamic Link Adobe Dynamic Link
Sending Work from Premiere Pro to the Media Encoder Workflow and overview for exporting 
Using the Media Encoder to Output from After Effects Add and manage items in the encoding queue