can anyone think on a software, or a method, to achieve this??

Greetings!

1. Remove artifacts and de-noise.
2. Balance your shots by adjusting BLACKS/MIDS/WHITES, SATURATION and WHITE BALANCE.
3. Relight within a shot using power windows or masks.
4. Add gradients, diffusion and other lens filters.
5. Add vignettes
6. Grade your images
7. Simulate a film stock of your choice
8. Resize and sharpen

After speaking to an Adobe representative I was told this was because I don't have the entire AVCHD folder structure and metadata available, just the .MTS files, and that my only option to get the audio back into Premiere is to transcode the clips into another format and relink against the transcoded version.

Personally I don't think this sounds like a completely plausible explanation. There are MTS clips in the same folder that import just fine.

Features:

• Native 64-bit application
• Support for RAW image formats
• GUI adjusts in auto for high DPI screens - very important if you work on 4K display
• Support for professional formats (XDCAM, AVC Intra, DVCPRO, ProRes and more)
• Scalable proxy editing
• 4K full support
• native 64-bit software!
• all video effects re-arranged and improved
• improved performance in general
• OS: Windows 7 and Windows 8.x
• Vectorscope, wave form monitor, RGB-parade and histogramm added (finally)
• support for numerous plug-ins (like for Neat Video since ver. X5)
• Primary and secondary 3-way color correction
• Multicam editing on up to nine tracks.
• Full Stereo3D support
• Precise Surround Sound audio editing in broadcast quality
• Disc authoring for DVD, AVCHD and Blu-ray Disc
• Broadcast quality file export with batch processing
• Top quality bonus plug-ins from proDAD and Red Giant

About new software version:
http://pro.magix.com/en/video-pro-x/overview.275.html

Not sure if my question is clear, but basically I want to have the option of doing some tighter shots using my existing concert footage, and am willing to have the final output at 720, but want to know at what stage should I be scaling.

O

I am inexperienced with post production apart from basic NLEs, but have been tasked to put together a suggested workflow for a feature film suitable for cinema distribution. My requirements are as follows:

a) The original footage is recorded with BlackMagic cameras in Cinema DNG raw with 1.33 anamorphic LA7200 adaptors.

b) The result should include a DCP, Blu Ray and on-line 4K format suitable for VOD resale.

c) I've selected Da Vinci Resolve and FCPX as the NLE, because that's what I know.

d) The VFX pipeline has not been locked -- that will depend on the VFX house we use. Maybe AE or Nuke?

e) I'd like to use WindMotion to upscale to 4K, and for Noise Reduction.

I've put together some notes on the workflow, but have a lot of questions. For example, it's not clear exactly the order in which some things should be done. I assume VFX is added before the color grading, but don't know whether that should be done on a LT ProRes proxy version, or whether we should transcode the raw to ProRes 4444 and work only with those? Should I use DPX for the VFX pipeline, or ProRes 4444?

Anyway, I'm posting my notes below, and would welcome your suggestions and corrections, since I'm very new at this. Thanks!

--

1. Initial DIT captures all film as Cinema DNG raw (compressed, 12 bit, 1080p24), with accompanying reference audio (wav) file, and a selection of WAV audio tracks (between two and four tracks) of separate audio. Note that timecode has NOT been used, therefore all sound must be manually synchronized (using e.g. Pluraleyes or the built-in synch in the NLE.)

2. A light grade is applied to all the Cinema DNG files using Da Vinci Resolve v10 Lite. At this stage, all anamorphic captures are desqueezed to 2.35 aspect ratio, resulting in 2554x1080 @24p images. ProRes LT proxies are created by the DIT using DVR10, with the initial grade. Some non-anamorphic material may be cropped to provide the 2.35:1 aspect ratio (since some material was captured non-anamorphic.)

3. The ProRes proxies are loaded into Final Cut Professional 10 (FCPX) for the initial assembly edit. Audio files are synced at this time using FCPX and/or Pluraleyes are required.

4. Noise reduction is applied to the FCPX proxies using Neat Video plugin. Note that this will be repeated later with the graded footage in a higher bitrate version.

5. The assembly edit is completed with FCPX, to produce a first edit lock version for VFX.

6. An initial audio mix is prepared. This will include addition of Foley and ADR tracks, that will come from the production process. Some additional Foley may be added at this stage, along with basic fixes to sound.

7. DPX versions of clips requiring VFX will be exported from the NLE. Before this can be done, highest quality ProRes 4444 versions of the raw Cinema DNG footage should be transcoded using DVR10, and relinked into the NLE for the export of the clips. QUESTION: Should we use FCPX/Compressor or DVR10 to generate the DPX for VFX? OR will the VFX pipeline use ProRes 4444 directly?

8. The finished VFX shots (perhaps as ProRes?) will be rendered by the VFX pipeline, and brought back into the NLE for inclusion in the final edit. Some frames may need to be trimmed to ensure timing is correct.

9. Final sounding mixing and audio mastering is now completed, combined with the music/score. This might use Logic Pro or a similar tool chain, depending on the preferences of the audio master team.

10. The final edit with VFX is generated as ProRes 4444 and exported to DVR10 for the color grading. The color grade is completed, and re-exported again as ProRes 4444.

11. A tool such as Windmotion is used to upscale the footage to 4K, while maintaining 4444 color space as 12 bits. At this stage, additional noise reduction and/or sharpening may be applied to selected parts of the footage.

12. The 4K master is now combined with the final audio mix, which is mastered to Dolby Cinema 5.1. (No licensing fee is now required.) This is used to create the DCP for festival use with the 5.1 audio track. Additionally, a Blu Ray master is created, both in disk format and within a MKV container. This may use H.264, or possibly H.265 if this is available.

http://www.apple.com/final-cut-pro/whats-new/

This problem haunted me for long time. I was rendering clips in After Effects and then re-imported them to Vegas. Everytime I rendered videos from Vegas, them were over-saturated and had too much contrast.

I blamed Windows Media Player, my displays calibration, you name it... Then I finally found this video:

I had to simply just add Levels-plugin in Vegas with setting "Computer RGB to Studio RGB".

And now finally, the rendered video looks what it's supposed to look!

Completely free stuff useful if you need to make something small and fast.

http://www.videosoftdev.com/free-video-editor

A shot-by-shot investigation of the three-way standoff at the climax of Sergio Leone's The Good, the Bad, and the Ugly, revealing mathematical patterns, images of thought, and pure musical rhythm. A video essay by Max Tohline, 2013.

SAN JOSE, Calif. -Sept. 24, 2013 - Adobe (Nasdaq:ADBE) today announced the availability of Adobe® Photoshop® Elements 12 and Adobe® Premiere® Elements 12, new versions of the No. 1 selling consumer photo and video-editing software*. Customers will enjoy powerful mobile capabilities, and reap the benefits of professional-grade editing technology delivered in an intuitive experience that makes it easy to create stunning results.

Create Unforgettable Movies with ease with Premiere Elements 12.

New features and tools include:

Guided Edits – Step-by-step navigation on how to get started, trim frames, add scores, transitions, titles and narrations, as well as animating graphics and creating pictures within pictures.

Scores - More than 50 soundtracks that automatically regenerate to fit the duration of a clip, making it easy to create home movies with perfectly timed intros, outros and background music.

Sound Effects – More than 250 effects that add excitement and dimension to audio tracks.

Auto Smart Tone - The same exclusive technology found in Photoshop Elements 12, for video.

Film Looks – Four new filters to add stylized Hollywood flare to home movies including Comic, Trinity, Yesteryear and Cross Process.

Motion tracking – Spotlight your subject by adding graphics, text and effects that move with the object.

Pricing and Availability

Premiere Elements 12 (Mac and Windows) are immediately available for purchase at www.adobe.com for US$99.99, with upgrade pricing of US$79.99. The Photoshop Elements 12 & Premiere Elements 12 bundle is available now for US$149.99, with upgrade pricing of US$119.99.

Info at:

• http://www.photoshop.com/products/premiereelements

Available at:

• http://www.amazon.com/Adobe-Photoshop-Elements-Premiere-Download/dp/B00F8LK22M/

For the actual CC-Version we want to do a major update which is really expensive, depending on the new features we want to have implemented. We are only designing the PlugIn and defining the features, but we have a company to do the programming for us (in c++ with the adobe premiere sdk). Before we start reinvesting and because we want to be real close to the market, we would like to hear which features YOU would like to have implemented and if you think, that this tool would be useful for you or not. We did not make the decision if we will sell it or not by now.

At the moment the PlugIn has the following features:

• You can do push-, wipe- and dissolve-transitions and all of them are fully keyframable, which means that if you have a dolly track you can push the next video with the speed of the dolly into the frame

• You can completely customize your transition by taking a Photoshop-Layer with Alpha-Channel an make this PSD-Layer the basis for the transition. For example: you can start your wipe-transition in the upper left corner and make it go down to the right corner with a soft border, the feather of the border is also customizable. This effect is used very often in TV-Shows for example in "White Collar Season 2", when they change from outside into the police headquarter.

• The transition can have any angle that you want

• You can start the dissolve transition from any position that you want

• You can "dip" to a logo which can be useful if you use the Logo of a fair/exhibition/trade show and you can use the logo as a kind of "separator" between different companys at the exhibition.

I know that you can do all of this with after effects, but it really saves a lot of time if you can do those things directly in PremierePro.

We are planning to add some other new features, but for me it would be interesting to hear, if such a PlugIn would be useful for your every day work and which features you would like to have included into a transition PlugIn. What you see on the pictures is NOT the real PlugIn, it is the functionality that we gave to the company to do the programming for us. The User Interface will look different. Please let me now your thoughts.

o Addresses green artifacts with Sony XAVC media

o Some interlaced or retimed media could cause exports to fail

o Includes stability improvements

Most important new features are:

• Color correction tool supports 10-bit color depth
• Export sequence with alpha channel
• Native RED (.R3D) support*
• Improved XDCAM/ P2 data transfer
• 3D (stereoscopic) editing
• AVCHD 2.0 support
• EOS movie support (ALL-I (I-only), IPB)
• Camera RAW format support*
• Filmstrip view in Timeline
• Enhanced video layouter (drop shadow, resize quality)
• Built-in loudness meter
• Built-in shake stabilizer
• 720p Blu-ray authoring support
• Flash F4V export
• QuickTime HQ/HQX codec (Windows/Mac)

Here a tour of new features from Matthew Scott:

I shot some footage at 50fps on my GH3. After ocking a movie on Premiere (at 25fps) I moved it to Resolve 9 Lite via an XML file. For some unknown reason some clips (only some of them) show different in/out points than the Premiere version. All clips were shot in a 30 min time window. I suspect that it might be because of the Timecode settings of the original clips, inherited from GH3 settings (maybe cause it shifted from 3:xx:xx to 4:xx:xx during shooting?).

What have I done wrong? If it's related to Timecode settings: How should I set my camera to prevent this from happening? How can I fix it in post (either Premiere or Resolve)?

Thanks for answering!

P.

I am thinking of doing a system restore and reinstalling CS5.5 again.

Did any one experienced about enlarge a photos using screen capture. What are the necessary steps. Using retina macbook pro, I previewed the photos, zoom in then using command+shift+4 to capture . Look like it do the trick, but I was not sure.

Your inputs would be appreciated.

Teh Googol wasn't very helpful on the topic. Especially a large batch. OSX environment.

So I thought, I buy a cheap old Macbbook take it with me also for viewing, put all the footage on a lower quality and do an offline editing (original footage will be shot on GH2 and be sent to a "safer place").

Anybody has experience down to which Macbook and OSX, FCPX still works, RAM etc?

I am working on a project in FCPX where I constantly need to reverse, speed up, and slow down my clips. I basically want to be able to change "time" in the way you can do this when you scrub back and forth through video. Or the way a dj uses a turn table.

Is this possible, if so how?

Thanks so so much

For a long time, I've shot videos with any photo camera that I'd have around, not taking care about shutter speed, fps, etc. After some months of saving and research, I decided to go for a GH3. I feel now confident enough to show some of my work to the world (via Vimeo).

Last week I shot a movie in a hospital. Not every space was well lit, and after editing and some basic color grading, I realized there's some kind of noise (or blocks, I'm not sure) on the darker areas (specially black plastic chairs in waiting rooms).

Technicalities: GH3+12-35 f2,8 , MOV at 25fps and 50fps, ISO not higher than 1600, Premiere on Mac.

My question is: is there any serious noise reduction technique in Premiere? Photoshop is excellent at noise reduction, and I am really surprised that everybody is skipping Premiere when talking about N-R, and talking about 3rd party apps.

Please find below a link to the video.

Thank you in advance for your answers!

P.

Anyway, I'm looking to get better performance without having up upgrade the system, and it appears that there may be 2 strategies. The first is to set up a RAID disk system for video editing. The second is to convert my video files to a less-compressed, more intraframe-like format, so playback may be faster, and edit that. So I have a few questions.

1. Let's say I want to take my hi-def AVHCD files, and render copies in another format that PP can play back faster. Is there a video format that'd work for this purpose?

2. How much can a decent RAID system speed up playback in Premiere Pro?

3. Which is preferred; SATA drives hooked to the motherboard, or USB 3.0 drives?