Non destructive video editing – Adobe Premiere Pro, Final Cut, Avid, Sony Vegas etc

You will quickly learn if you are outputting video for a client who is bound to feed back and expect changes to adapt an editing technique that allows you to go back, find footage you might have deleted from the timeline, jump to another camera angle at a certain point or reconnect audio that you had discarded. Often the people making the decisions do not understand the choices you made and insist on something else, for this reason it is important to take a photoshop technique to editing in a way that is non destuctive. Here’s a few tips.

At capture stage be sure not to be too precise with your timecodes, always capture with ample handles and this sometimes means shooting a little more at the begininning and end of each clip, this will not only allow for better constructed transitions but also save the annoyance of not being able to extend the clip that extra little bit to fit to the timing of the edit.

Always keep you original files as raw and unedited as possible. Do not apply effects on the camera or work on the footage in another program and save it down, keep your editing options as versitile as possible.

Re order! Don’t delete! I often shoot a presentation on two cameras and sync the two. If you have made a decision about which camera the viewer will see, keep the unused clip but place it on the layer below in the timeline or on a hidden layer. There’s always some who might say, can we have this camera at this point? Just because they can!

If you are working with graphics then Adobe Premiere Pro is great for importing images or projects both psd’s and aep’s directly in the timeline but be sure when you right click and edit in Photoshop or After Effects you don’t make irreversible changes, always make a backup copy and work in layers so you turn on and off elements at will.

Adobe Premiere Pro – Speed up editing processes by working with numbers

There are many little tips and tricks to speed up your repetitive editing processes but one of the main things I find is to get used to working in numbers for resizing, scaling positioning etc

One of the major pluses to editing using premiere pro is the ability to drag and drop different video formats straight into you project and then on into the timeline, no rendering and no re encoding video to a specific .mov file but this means you’ll often need to re size clips. You can set this to automatic as you bring it into the timeline but I often like to do this manually and refreme the shot too.

I work with a notepad in front of me and any values I think I will repeatedly need in that project I jot down. This is also a good tip for scaling over time, timecodes, clip lengths and color values. It might seem obvious but on a large project it’s amazing the amount of time and frustration it can save. I’ve included a screen grab where you might find this useful in the video effects tab.

Adobe Premiere Pro – Highlighting title text in time to a voice over

This was a request I had recently for a presentation style video. We shot voice overs in the studio and the request was to highlight certain keywords in a paragraph of text in time to the voice over. This is a simple concept but there is an inefficient and an efficient way of going about it.

Lets start by creating your title and finalise your text font and layout. Right click in the Project Pane and select New Item > Title and name accordingly. Pick up the text tool and click where you would like the text to appear in the window. I like to adjust my font, size etc previously and then paste my text in. Refine your layout and the close the window. Now duplicate the title you just created by right clicking and selecting duplicate. I usually name it with a .1 suffix or the word that is will highlight. Open up this title and highlight the first word you wish to appear in a different colour and change the colour. Close this window down and this time duplicate the .1 version of the title. Repeat this until all your words are highlighted in the new colour. Play the voice over in the timeline and pause at the beginning of the first word you wish to be highlighted in the paragraph. Refine using the arrows on your keyboard. Drag the second title you created down to the playhead and repeat until all highlighted words are timed to the VO.

Adobe Premiere Pro – The difference between Track Volume and Clip Volume

If you are used to using Final Cut Pro you will no doubt prefer to control your audio channels in the timeline rather than on the effects tab. At first this appear difficult if you use the button to the left of the timeline depicted here you shall reveal further controls in Adobe Premiere Pro.

This will allow you to control the levels from the timeline over time which is very handy if you have a soundtrack or voice over that needs to be taken in and out during your edit. Often these level changes will be clip dependent, meaning that if you move the clip around the point at which the levels need to change will remain the same. Sometime these changes in sound level will be relevant to the edit and if you move certain clips you will still require the levels to change at that point. Using the drop down here you have access to show clip toggles or show timeline toggles. Remember that clip levels works on that clips audio independent of the timeline and the timeline audio works on the timeline audio independently of the clips.

Add keyframes at the playhead using the black diamond next to the track or by using the Pen Tool.

Adobe Encore – End Action Not Set

This another really simple error that encore throws up every time you check your build unless you manually set it. This error is merely asking what the DVD should do once it has played the video track.

Use the dropdown, End Action to select how it should act, often it will be just Stop or return to the main menu.

Also check out Title Remote Not Set

Adobe Encore – Title Remote Not Set – The answer is here!

No doubt you have come across this error many a time when you test your build in Adobe Encore especially if you have sent the project from Premiere Pro via Adobe dynamic link. This is merely the option to select what happens when the viewer presses the menu button on their remote control. If your project looks like the image displayed here then you don’t need to worry just ignore the error as it’s not really an error. I you have a menu on the disc you will need to select the drop down below and point it at your menu. You can pickwick this or select from the drop down.

Also check out End Action Not Set

Basic Chroma Key / Blue Screen in Premiere Pro and After Effects

The fundamentals to producing good chroma key are choice of background colour and flat lighting. You will save time and effort at edit if you spend an extra 10 minutes on this before a shoot. I often bounce light of a wall or flag the lights so as not to produce harsh changes in colour, I then monitor the colour through the camera display to ensure I produce a flat and even blue or green.

I shall talk about the controls I use in Adobe Premiere Pro as it is my current edit suite environment but controls the the video effects are much the same in Final Cut. For greater detail I would use Adobe After Effects to produce perfect results.

If you have produced an even background and once you get used to the controls you will be able to knock out the background in seconds. Apart from the Key Color / Eye Dropper used to select the colour you wish to remove, the three main controls are Color Tolerance, Edge Thin and Edge Feather. Select the tone roughly in the middle of the range of colour you wish to remove, I have often placed my new background in the video timeline under my clip so as I can see what I am doing. Adjust the Color Tolerance until the majority of the chroma has been removed. There will usually be a thin line left around the subject. Use the Edge Thin to remove most of this by increasing the value. The line is still pretty harsh so now tidy the effect up using the feather tool again by increasing the value, this will soften the change in color.

If you didn’t manage to achieve an even flat light you can use the Colour Key effect more than once in order to remove the rest of the colour but be sure to keep an eye on the shades on the subject to make sure nothing is removed. If you have chosen the background colour wisely this shouldn’t be a problem.

For Chroma Key in more detail using Adobe After Effects see this tutorial, very simple but great results.

Adobe Premiere Pro – Pause video in the timeline by creating a still frame

Unfortunately there is no means to simply pause a video on the first or last frame to get that still to motion effect you often see when multiple interviews are shown on screen at once.

I have found the simplest way to achieve this in Adobe Premiere Pro is to create stills by exporting a tiff then re importing it into you projects portfolio.

Begin by aligning and resizing your clips on the timeline (see how to scale video here) in the order you wish them to appear. At this stage you will see black before and after the clip. Place the playhead on the first frame of the video you would like to begin on a paused / still frame. Choose File > Export and select tiff, be sure on the next drop down to export the tiff in the aspect ratio you are working in. It will make lining the image up a lot easier later. Export as usual using Adobe Media Encoder to the correct folder in your project folder (see setting up a project here) import the file back into your project and place it on the timeline prior to your clip. Adjust the length and play through to see the effect. If you need to scale the tiff do so to complete a smooth still frame to motion effect.

Installed Quicktime Plug ins and Components for video production

After recently having my first issues playing certain video codecs in Quicktime since the installation of Mac OSX Snow Leopard I thought I’d look at my installed Quicktime Components that in the past have allowed me to play most files. Obviously, Quicktime Pro facilitates many options that are grayed out in the regular Quicktime Player. I also have Premiere Pro which now facilitates many HDD camera files, Final Cut which also supports many mpeg formats and VLC Player which seems to open most files.

Flip4Mac Pro WMV
I have the Flip4Mac Studio Pro for WMV playback and export. There is Flip4Mac Player for WMV Playback,  Flip4MacPlayer Pro allows you to import WMV’s for conversion to Quicktime formats although this version is not free, Flip4Mac Studio allows you to export WMV’s in the Quicktime environment but using the presets and Flip4Mac Studio Pro which allows you to create you own custom export settings. I would advise purchasing Studio Pro if you support a company that uses Video in Powerpoint as it provides the most versatility.

Visit The Flip4Mac download page here

Perian
Perian, they say is the Swiss army knife for Quicktime Codecs. I’ll be honest, I installed it and as I can play most formats I guess it helps but couldn’t evaluate it completely. Here is the list of codecs Perian supports.

  • File formats: AVI, DIVX, FLV, MKV, GVI, VP6, and VFW
  • Video types: MS-MPEG4 v1 & v2, DivX, 3ivx, H.264, Sorenson H.263, FLV/Sorenson Spark, FSV1, VP6, H263i, VP3, HuffYUV, FFVHuff, MPEG1 & MPEG2 Video, Fraps, Snow, NuppelVideo, Techsmith Screen Capture, DosBox Capture
  • Audio types: Windows Media Audio v1 & v2, Flash ADPCM, Xiph Vorbis (in Matroska), and MPEG Layer I & II Audio, True Audio, DTS Coherent Acoustics, Nellymoser ASAO
  • AVI support for: AAC, AC3 Audio, H.264, MPEG4, and VBR MP3
  • Subtitle support for SSA/ASS and SR

Download the Perian Plugin here

REDcode
I have REDcode installed but to be honest I have know hardware that would require using this as yet.

Visit the REDcode website here

DIVX 7 Codec
I have the DIVX 7 Component installed which adds playback of .divx videos and .avi files, there is also a DIVX 7 Pro version which allows you to create your own DIVX files but I have not yet had the need to do so so I don’t have this installed

Visit DIVX here

TechSmith EnSharpen
Since I have installed Camtasia on the Edit suites at work I have installed the TechSmith Ensharpen Codec to reduce the problems I might come across saving out screen capture video created in Camtasia and saving them to Quicktime to then import for edit into Adobe Premiere Pro.

Visit the TechSmith EnSharpen Codec page here

I’m pretty sure I have the XVID Component installed too but again am not sure whether this ever needs pulling out of the bag and if it does it probably runs nicely in the background.

For more Qucktime Components visit Apple

Comparison DV Footage captured using Adobe Premiere Pro, Final Cut Pro and iMovie

I had presumed that Premiere Pro would capture video from a device in much the same way as Final Cut Pro or iMovie. After having a lot of trouble with the quality of exports using Adobe Media Encoder, I had a look into videos captured by different programs to see if this could be effecting the final output. I decided to look at the same piece of footage from the same DV tape recorded from a Sony HVRDR60. I recorded the video and placed them side by side on the desktop. Below you can see the Premiere Pro Clip (Mov) on the Left and the iMovie clip (DV) on the Right. If I’m honest, I could not see much in it to the naked eye. The contrast might possibly be slightly better on the iMovie clip but even zoomed right in. As there was no differences to see I had a look at the figures, the DV clip captured at a much higher bit rate and produced a higher file size. This would suggest that if there was more movement in the footage then the DV capture would handle this far better than the MOV, although the file size would be almost double.

I am drawing no conclusions from this test apart from, if my premiere pro captured footage are ever not up to scratch then I shall turn back to Final Cut Pro or iMovie to capture my footage. Take from this what you will!

Comparing the .Mov footage and the .Dv

Captured_Footage_Comparison

Premiere Pro / iMovie

Adobe Premiere Pro Captured Footage

Format: DV, 720 x 576 (768 x 576), Millions 16-bit Integer (Little Endian), Stereo, 48.000 kHz
FPS: 24.37
Data Size: 45.4 MB
Data Rate: 30.34 Mbit/s

Premiere_Pro_Captured_Video_Footage

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iMovie Captured Footage

Format: DV, 720 x 576 (768 x 576), MillionsDV, Stereo, 48.000 kHz
FPS: 25
Data Size: 97.1 MB
Data Rate: 57.60 Mbit/s

iMovie_Captured_Video_Footage

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