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Working with HD Digital SLR footage in Premiere Pro CS5

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[whirring] [ADOBEĀ® TV PRESENTS] [SHORT AND SUITE} [mechanical clunking] [JASON LEVINE} [clunking continues] [KARL SOULE] [clunking continues] [whirring] [SHORT AND SUITE - ON THE ROAD WITH JASON AND KARL] Hi. I'm Karl Soule, technical evangelist for Adobe Systems. Welcome to another episode of Short and Suite. Today we're going to be talking about this new revolution with DSLR cameras, and I want to take you guys through some of the specific features inside of Premiere Pro CS5 that are geared towards shooting and working with DSLR footage. Now, if you're shooting on a camera like this, one of the challenges that people have faced with these cameras is the fact that they use a very high bit rate H.264 codec, and even though these are just QuickTime files, in most cases people are going through the hassle of transcoding this footage before they can bring it in and actually start the editing process. With Premiere Pro CS5 and the new Adobe Mercury Engine, that's kind of a thing of the past. If you're working with Premiere Pro, you can work natively with the footage right off of this camera, including being able to check shots right off of the card in the camera. If you need to, you can on set just pull the card right out of the camera and take this, put it in a card reader, and actually look at this footage right from within Premiere Pro, and you should be able to see it at full frame rate, full playback without any problem. Let me show you a couple of things inside of Premiere Pro to get you started. The first thing is when you're setting up a new sequence. I'm going to go ahead and click on the New button here and choose Sequence. When I do that, there's now inside the Sequence presets, there's a new folder called Digital SLR. So if I bring this down, I can choose a Timeline sequence that matches exactly what I'm shooting on my camera. So in this situation, on this camera I've been shooting at 1080p, 24 frames per second, so I can go ahead and select a timeline of that, and I can go in here and I can choose, and I'll just call this one the same thing as the preset here. We'll just call this 1080p24 and hit OK. So now I have a new blank timeline here. I've taken some of the footage. I've copied this off of the card in the camera and I've put it on my hard drive here, but if I want to look at this footage, I can just double click on a clip. This is going to open up over in my Source monitor. I can start the playback of this footage, and if I want to, I can hit the tilde key on my keyboard and I can blow this up full frame. When I'm doing this, depending on your hardware, in most cases you should be able to work at full frame rate here. But a couple new features to be aware of, there are these new controls here for Playback Resolution and Pause Resolution. I'm going to go ahead and set this to Full Resolution for playback and for pausing here because we have really gone through and optimized the H.264 codec that decodes these files, and since we're now fully 64-bit multicore optimized, we can play back this footage without any problem, without any drop in frame rate here. So you can see I'm going through and I'm playing back this footage. I can use J-K-L editing on my keyboard here, I can play this backwards, I can mark an in point, go through and mark an out point on my footage. I'm going to go ahead and go back to my regular interface here. I can now take this footage and drop it right on my timeline here, and we'll go ahead and just expand that out. So we can easily go through, and we can take this footage and merge this together. Another thing to note here, I'm going to go ahead and go into my new Sequence panel here again because I want to talk about one particular preset that we have in here. There's a new preset that's called DSLR 1080p30 @ 29.97, and this is really crucial if you're using the older firmware builds on cameras like the Canon 5D Mark II. Those cameras were shooting at a true 30 frames per second, and so this was creating a lot of problems with mixed time bases if you were shooting on, let's say, a 1D and a 5D in the same shoot. Using this particular preset, Premiere Pro will conform your footage to 29.97. One of the things that's always been a real benefit of Premiere Pro is you can mix and match time bases on one timeline. So if you're shooting 1080p30 and you're planning on mixing and matching between footage from, let's say, the 5D and the 7D, the 5D and the Rebel T2i, and you haven't used the new firmware build that adds true 29.97 playback if you have legacy footage, this would be the preset that you would want to work with. The great thing about this is you don't have to worry about your graphics card for doing this. I know there's a lot of interest in this Adobe Mercury Engine, and this is something that doesn't require GPU acceleration. You can actually work with this footage and play this back. I even do this on a regular basis on my MacBook Pro laptop. But if you do have a GPU that's on the approved list, what that gets you is the ability to go in and actually do color grading and color timing right on the timeline inside of Premiere Pro and not have to render your footage. So here I've got a piece of footage that I've dropped on my timeline. If I go into the Effects panel--in fact, let me go ahead and turn this on. I don't have GPU acceleration currently turned on, so I'm going to go to Project, Project Settings, General, and we'll go ahead and change the Video Rendering here to the GPU acceleration mode and we'll delete the previews here in this choice. I don't have any preview files at this point, but I'm not going to use them anyway. And so now at this point I'm working with this footage. If I wanted to, I could come in and I could take something like a Three-Way Color Corrector or RGB Curves and I can drop it on this footage and not have to worry about rendering preview files. So in this example here, let me go ahead and use my Effects panel. I'm going to go ahead and turn on the Accelerated Effects filter. That's this little icon here in the Effects tab. When I do that, you'll see all these different effects are accelerated provided I have the correct graphics card in the system. So you'll notice there's a lot of different options here for working with color, so I can come in here and maybe use--I like working with Curves. I like the idea of sticking with kind of a Curves metaphor from what I know in Photoshop. So I can take something like an RGB Curves effect, drop it on here, go to the Effect Controls, and now I have a nice little curves adjuster here so I can go in and maybe just shift the gamma a little bit on this particular clip. Maybe on this particular shot I want to boost the reds a little bit or maybe knock the reds down and make the shot a little bit cooler here. You can see I'm seeing that update immediately, and as I play this clip back here, you can see that it's not affecting the quality of the playback. It's actually playing back in full 32-bit linear color space as I'm doing this. You'll notice in the Effects bin there's also a couple of other modifiers here, a couple of other filters. This particular effect is a YUV effect. Even though I'm looking at red, green, and blue curves here, it's actually keeping the clip in its native color space. This is also a 32-bit effect, meaning Premiere Pro is working in a 32-bit floating point color space so if I take one effect and I blow out a particular area of the video, I'm not actually losing any detail in there. If I take another effect and darken that part of the video down, the detail will be preserved in that part of the video. So very, very powerful capability. So hopefully I've just kind of shown you the ability you can take and work with footage directly off this camera, no rendering necessary. We have presets that fit all of the major DSLR cameras out there, and if you have the GPU acceleration on your desktop system, you can also go in and do color correction. Again, no worrying about rendering preview files. So it's a pretty powerful system for anybody interested in shooting on a DSLR camera. So if you're not familiar, you can definitely get a hold of me on Twitter via Karl Soule is my handle on Twitter. [Twitter: karlsoule] [Blog: http://blogs.adobe.com/videoroad] I also have a separate blog at blogs.adobe.com/videoroad and I've even created a new blog that's specifically focusing on the new DSLR market called rebelshooters.com [http://www.rebelshooters.com] So you can also get a hold of me there. Thanks again. My name is Karl Soule, and thanks for watching. [Executive Producer - Bob Donlon] [Producer - Karl Miller] [Director/VFX - Kush Amerasinghe] [DP/Post Production - Erik Espera] [ADOBEĀ® TV PRODUCTIONS - tv.adobe.com]

Video Details

Duration: 9 minutes and 11 seconds
Country:
Language: English
License: All rights reserved
Genre: None
Views: 232
Posted by: adobetv on Oct 7, 2010

In this episode of Short and Suite, Karl Soule shows new features in Premiere Pro CS5 that are designed to make working with high definition footage shot with a DSLR easy and efficient.

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