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  1. #1 Tutorials for Newcomers to Premiere Pro 
    Senior Member Brad Allen's Avatar
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    So, with all of the newcomers to Premiere Pro, I thought it might be useful if I started putting some tutorial videos together on RED-centric workflows. These are a work in progress and I am happy to recreate sections if they are unclear or generally unhelpful. Make sure to switch the quality to HD so that you can clearly see everything that is going on :)

    Current Topics Covered

    1. Introduction to Premiere Pro (The super basics)

    In this tutorial I go through some of the absolute basics of Premiere Pro. The video ended up being way longer than I anticipated as I was also catering to people who are new to the editing world. Things covered include:

    - Overview of Interface
    - Settings Setup
    - Keyboard Shortcuts
    - Sequence Setup
    - Importing Footage
    - Tools Overview
    - Applying Effects and Transitions
    - Creating Titles
    - Creation of Color Mattes
    - Overview of Exporting



    2. Working with R3D Basics

    This tutorial covers basic info regarding RED footage inside Premiere Pro. It has been created for those with little to no experience in relation to R3D files inside of Premiere.

    In this video I go over:
    - Creating RED and custom sequences
    - Importing Footage
    - Red EPIC Importer (for CS5.5)
    - Adding Footage to the Timeline
    - Adjusting the Playback Quality
    - Scaling of Footage
    - Adjusting RED metadata saving this to the RMD
    - How to Enable Red Rocket

    Additionally: If it wasn't made clear in the tutorial. EPIC and SCARLET footage will only work in CS5.5 and higher. If using CS5.5 you will need to install the EPIC Importer from: http://labs.adobe.com/technologies/redepic_importer/

    Quick Tip: If you drag a clip from the project panel onto the "new item" button, it will automatically create a sequence that is matched to that clips specifications (Resolution, Framerate etc)

    3. RED Advanced Workflow Tips and Workarounds

    In this tutorial I cover some more Advanced RED Workflow Tips in Premiere Pro CS5.5. Topics include:

    - RED Render Quality Settings
    - Editing Source on Multiple Files (and it's current limitations in CS5.5)
    - RMD's Between Multiple Adobe Applications
    - Updating all RMD's after changes in RedCine-X
    - Managing Red Rocket Between Multiple Apps
    - Rendering out higher than 2k in Premiere (Using Cineform, ProRes or DPX sequence)
    - Proxy Workflow/Workaround

    Extra Tip: The workaround I ended up using to get multiple R3D's into Adobe Media Encoder (searching in Windows Explorer with a *.r3d) can be used straight from within AME too :)

    4. RedCine-X Pro and Adobe RAW Workflow

    In this video I go over the interaction between Redcine-X Pro and Adobe Applications (Premiere Pro, After Effects and Photoshop). I explain what a 1st light is and show a workflow that maintains RAW data all the way through without the need for transcoding.


    Exporting in Premiere Pro CS6

    In this tutorial I go over the majority of the various functions in the "Export Settings" dialogue box. It is a fairly general overview and is applicable to all export formats and isn't spefific to Red in that regard.

    The Cheat Sheet mentioned at the end of the tutorial can be found here:
    http://unravel.com.au/files/Unravel_...CheatSheet.pdf



    If you have questions or any more suggestions for the videos, be sure to post them here and let me know!
    Last edited by Brad Allen; 12-13-2012 at 03:44 AM.
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  2. #2  
    Senior Member Zeb B's Avatar
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    Any RED related educational vids are hugely appreciated!
    -ZEB


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  3. #3  
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    the procedures between redcinex, after effects and ppro! And thanks for the initiative!
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  4. #4  
    Senior Member Brad Allen's Avatar
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    Thanks guys, keep them coming :)

    I'll amend the 1st post with topics to include until I have 10 that I think will be helpful to the most amount of people :)
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  5. #5  
    Senior Member Dane Henry's Avatar
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    Would love it! Thanks Brad.

    How about the most efficient way to Export! I'm getting killed by these extremely long export times. I'm liking alot in Premiere, but the export. It makes me think this tool will not fit in to many of my workflows for that simple thing alone. With so many of my client reviews being done online these days, a 30 minute to 1hr long export is really an issue. If the client has one small change, boom! re-export...tap fingers on the desk, pick my nose, stain teeth with ANOTHER cup of coffee...come back, oh :( only half done...

    I would love to see what I must be doing wrong.

    -Dane
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  6. #6  
    Senior Member Erwin van Dijck's Avatar
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    How to master Redcine X...
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  7. #7  
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    I think a lot of people are gonna get hung up on either how to transcode out of RedCineX for the most flexibility and/or how to properly use proxies and then link back up to the original 4k.r3ds during CC or rendering.

    A lot of DLSR users that are gonna be swapping over generally just take their h264s, convert to ProRes/CineForm, and then edit/cc those in a sort of offline/online amalgamation. I don't know many people that use proxies with entry-level gear, and I was under the impression that it's the least computer intensive to do so with RED footage in order to keep it .r3d all the way through the pipeline up until the last render-out to the delivery codec.

    The other thing is, Jim/Jarred have said to keep it RAW through the entire pipeline (using aforementioned proxies or a beefy computer with PPro), but then guys like Mark L. Pederson (the dude from Offhollywood), say it's easiest and still non-destructive to just do a once-over in RCX and then render out to ProResHQ or 4444. That's all fine and good, but I doubt many people who can barely afford an SX are gonna plop down the additional $5000 for a REDrocket, which means they're gonna take their 24mins worth of footage on their 64gig REDmag and have to render it for a few days just to get to ProRes... I get the feeling that a lot of first-time REDusers will not consider this or realize just how long it'll take when they first get their SXs. I think that's another thing that should be considered/covered.

    Personally, I find RedCineX to be insanely straightforward for anyone who has done any kind of colour correction. There are unique functions, like Alchemy and HDRx, but all that stuff is covered very well in the documentation. Generally speaking though, workflow is best covered by having people "see" what the instructions actually mean. Know what I mean?
    Last edited by Mike P.; 11-08-2011 at 10:56 AM.
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  8. #8  
    Senior Member Marcos Montenegro's Avatar
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    Quote Originally Posted by Mike P. View Post
    I think a lot of people are gonna get hung up on either how to transcode out of RedCineX for the most flexibility and/or how to properly use proxies and then link back up to the original 4k.r3ds during CC or rendering.

    A lot of DLSR users that are gonna be swapping over generally just take their h264s, convert to ProRes/CineForm, and then edit/cc those in a sort of offline/online amalgamation. I don't know many people that use proxies with entry-level gear, and I was under the impression that it's the least computer intensive to do so with RED footage in order to keep it .r3d all the way through the pipeline up until the last render-out to the delivery codec.

    The other thing is, Jim/Jarrad have said to keep it RAW through the entire pipeline (using aforementioned proxies or a beefy computer with PPro), but then guys like Mark L. Pederson (the dude from Offhollywood), say it's easiest and still non-destructive to just do a once-over in RCX and then render out to ProResHQ or 4444. That's all fine and good, but I doubt many people who can barely afford an SX are gonna plop down the additional $5000 for a REDrocket, which means they're gonna take their 24mins worth of footage on their 64gig REDmag and have to render it for a few days just to get to ProRes... I get the feeling that a lot of first-time REDusers will not consider this or realize just how long it'll take when they first get their SXs. I think that's another thing that should be considered/covered.

    Personally, I find RedCineX to be insanely straightforward for anyone who has done any kind of colour correction. There are unique functions, like Alchemy and HDRx, but all that stuff is covered very well in the documentation. Generally speaking though, workflow is best covered by having people "see" what the instructions actually mean. Know what I mean?
    Agree!
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  9. #9  
    Senior Member Tehben Dean's Avatar
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    Would love to know the best workflow for sending projects to Davinci Resolve. Currently I use FCP, export XML and conform in Resolve.
    TEHBEN DEAN - stills & motion
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  10. #10  
    Senior Member Brad Allen's Avatar
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    Quote Originally Posted by Tehben Dean View Post
    Would love to know the best workflow for sending projects to Davinci Resolve. Currently I use FCP, export XML and conform in Resolve.
    Hi Tehben!

    I'm not currently using Da Vinci so will be unable to cover this in any great detail unfortunately! Your workflow sounds right and would be what I would recommend though. Are you struggling with any part of it currently?

    Edit: oh I see you're using FCP! Sorry for not reading properly. You're workflow should be almost identical in Premiere. Export a FCP XML from PPro and use that to conform with in Da Vinci :)

    I might go through some of those cross-platform/cross-software issues. Sounds like it would be worth it :)
    Last edited by Brad Allen; 11-08-2011 at 12:14 PM.
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