The complete post-production of the feature film “6 Below” written by Vashi Nedomansky, ACE TALES FROM THE TRENCHES #1 FILM EDITING: The average film has 1,300 cuts. Every cut effects flow, rhythm and story. Every cut can make or break the film. 1,300 pieces to an invisible puzzle... With endless combinations. None of them right or wrong. That’s the beauty of filmmaking. VashVisuals.com/blog The script is written. The roles cast. Sets are built and wardrobe hemmed. The cast and crew assemble and the cameras finally roll. After several months, all the raw footage is captured. The globe-trotting team in charge of physical production hand over all the recorded assets to the editorial team. Then in dark, cave-like rooms, lit only by multiple computer screens, the journey towards the ultimate goal of a locked picture begins. It will continue until time runs out. This is filmmaking. When Scott pitched me the story of an ex-professional hockey player that got stranded on a mountain during a brutal blizzard my ears perked up. What Scott didn’t know was that I had played professional hockey with Eric LeMarque before his fateful experience on the mountain that became the story of this film. Sometimes the planets align. Once I told Scott about our mutual connection the pieces all fell into place and we knew that this was going to be a special experience. Post-production is the final step in the creation of a feature film. It is the longest and most arduous component of the filmmaking process. Every element of both creative storytelling and the technical requirements needed to make the film are in constant flux during this time. My goal with this comprehensive document is two-fold. First and foremost I want to share how our team broke new ground with the industry’s first 6K native feature film post-production workflow. Before a single frame can be edited, the post-production team has to design and build a workflow pipeline that facilitates both the budget and schedule of the film. This workflow must harness the hardware and software with a robust organizational system which allows team members to categorize and locate footage in the blink of an eye. Without this foundation, there is no way to manage hundreds of hours of assets and deliver a polished feature film. I helped design and implement the workflows for DEADPOOL (550 hours of footage) and in the process, we pushed the boundaries of digital post-production. As digital cinema moves forward from 4K to 6K to 8K and beyond, I will continue to pioneer new pipelines that are future-ready and optimized for any workflow. I have edited 11 feature films and trained hundreds of editors in transitioning to an Adobe Premiere Pro workflow including fellow ACE editors: Kirk Baxter, Angus Wall, Billy Fox, Dean & Dan Zimmerman, Julian Clarke, Jon Corn, Joan Sobel and Bruce Green. This document will walk you through the process of taking a feature film from image capture all the way to final delivery for any modern format or platform all the way up to a major motion picture. The life of a successful film editor is contingent upon repeat business. You form relationships with directors and hope your previous experiences will result in a phone call for another amazing project in the future. I was lucky to have been friends and worked with “6 Below” director Scott Waugh for almost 20 years before this opportunity came up. By imparting what we learned in the process of delivering this film, I hope we can remove much of the fear associated with the ever-evolving technical aspects of filmmaking. I want to share with you the roadmap we developed to help others navigate the minefield of issues that every filmmaker will one day experience. No matter the size or scope of your project, a thoughtful approach that prepares you for every aspect of the post-production process is the key to success. Equally important is that creativity never has to be stifled or limited by technology. There is always a solution, no matter what camera you shoot with or what computer you can afford. The budget should never prevent you from delivering a beautiful and compelling story. The intent of this document is to give you the creative and technical guidelines to help you tell stories through film and video at the highest level. This document is not a hypothetical workflow that should work. It is a proven, rock solid and successful workflow that pushes the technological boundaries and gives you comprehensive step-by-step instructions and advice to help you succeed in your project no matter the size or scope. Enjoy... Vashi Nedomansky, ACE The edit cave in the morning ready to go... The edit cave at night where the work never stops... CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5 CHAPTER 6 PIONEERING PIPELINES PREPARING YOUR ASSETS PROJECT, PREPARATION, OPTIMIZATION EDITING IN PREMIERE PRO ADVANCED EDITING THE IMPORTANCE OF SOUND CHAPTER 7 CHAPTER 8 CHAPTER 9 CHAPTER 10 WORKING WITH COLOR MAKING GREAT STORIES GREATER THE POWER BEHIND THE EFFECTS DELIVERING THE MASTER FILE Contents Assets from the feature film “6 Below” used within this document are the property of Momentum Pictures / Tucker Tooley Entertainment / Sonar Entertainment / StormChaser Films / October Sky Pictures and used by permission. Chapter 1 PIONEERING PIPELINES “6 Below” is the first feature film with a 100% native 6K post-production workflow from image capture to final deliverables. I was the lead editor and created this workflow with our postproduction supervisor Mike McCarthy. By not using proxies, the film skipped the typical off-line edit and was instead on-lined as we moved forward. This allowed us to save time and data storage while giving us immediate access to the footage during the entire 30-day shoot in Utah. If we had transcoded all of the 6K R3D files, I would not have had time to review the footage before the film crew began shooting the next morning. The other challenge that factored into our decision to work in native 6K was that we knew we had to deliver 14 separate versions of the film, including: By directly accessing the camera original R3D files within hours of each daily shoot, I could confirm to the director and DP that they had the shots they needed. I could also suggest pick-up shots for the next day if something was missed. Each night after copying the R3D files from the USB3 shuttle drives to our shared storage, the drives were returned to set and prepared for the next morning’s shoot. A 6K Barco Escape 3-screen version with a 7:1 aspect ratio that consisted of three 2K DCPs played back in sync through three 2K projectors to create the immersive Barco Escape format experience. All of the raw camera footage was RED Dragon 6K (6144 x 2592 pixels) R3D files and these were ingested into Adobe Premiere Pro and Adobe After Effects for editorial and VFX work. The project was edited at 6K with no proxy files and no transcoded footage. All 205 VFX shots were done at 6K using the original R3D files. The workstation that made this possible was the DELL Precision 7910 Tower equipped with the NVIDIA Quadro M6000 GPU. “6 Below” - When a snowstorm strands former professional hockey player Eric LeMarque (Josh Hartnett) atop a frozen mountain for eight days, he is forced to face his past and come to terms with his personal demons in order to survive. 1 2 3 A 4K single screen theatrical DCP version with a 2.76:1 aspect ratio that was made famous in BEN HUR (1959) and recently with THE HATEFUL EIGHT (2015). A 16:9 DCP for broadcast and online delivery. By capturing at the highest 6K native resolution, we had room to reframe and down-convert the footage to deliver the cleanest picture and best framing and sharpest imagery for each format. For lenses, we used the Panavision Primo 70 lenses originally designed for the Panavision 70mm system. These lenses are rated for 8K+ capture, so we knew we would be working with pristine imagery. Before we started, we had tested and experimented with several editorial platforms and operating systems to find the most powerful and stable solution for a 6K native pipeline. The results of these experiments are real and not hypothetical or theorized. Our workflow maintained optimal performance and quality throughout the editorial. All of our final assets and deliverables met and exceeded the highest quality standards for feature film distribution. Dell7910 Workstation Chapter 1 Pioneering Pipelines Nvidia Quadro M6000 Here are the components we utilized for the first ever 6K native post-production feature film workflow. And the reasons we chose them: Chapter 1 Pioneering Pipelines DELL PRECISION 7910 TOWER WORKSTATION (x2) INTEL DUAL XEON-E5-2687W / 10-CORE 3.1Ghz PROCESSORS (x4) 128GB RAM DDR (x2) NVIDIA QUADRO M6000 12GB video cards (x2) WINDOWS 7 PRO x64 (x2) INTEL X540 10GbE NETWORK CARDS (x2) 500GB M.2 NVMe SSD PCIe BOOT DRIVES (x2) THUNDERBOLT 2.0 CARDS (x2) ADOBE PREMIERE PRO ADOBE AFTER EFFECTS WD 8TB USB 3.0 EXTERNAL DRIVES (x8) DELL U3415W CURVED 34″ LCDs (3440 x 1440 pixels) (x2) DELL P2715Q 27” ULTRA HD (3840 x 2160) (x3) SONY X850C 55″ 4K LCD TV (x3) PROAVIO 64TB EB800V2 8-SPINDLE RAID PROMISE PEGASUS P2 24TB THUNDERBOLT RAID ADOBE AUDITION ADOBE MEDIA ENCODER MOCHA PRO FRAME IO PROLOST HANDCRANK These were the core elements used, giving us the creative freedom to focus on the storytelling and technical demands of “6 Below”. Once again, it’s important to stress when tackling the high demands of a 6K native workflow, we felt it best to spend the money upfront to help future proof and protect ourselves downstream during post-production. Maintaining playback of a 2-hour edit at high resolution was critical. And by choosing such powerful Dell Precision workstations there were no bandwidth or throughput issues with the 6K files. Systems will continue to improve performance just as camera formats will continue to grow more complex and processor intensive. During this process, we learned it’s best to be prepared early and test your workflow before you start editorial. The film will never wait for you. Once the cameras start rolling, the footage starts piling up. So you’d better be ready! Chapter 1 Pioneering Pipelines TALES FROM THE TRENCHES #2 C.O.R.R.E.C.T. FILM EDITOR SKILLS Creativity Organization Rhythm Responsibility Empathy Communication Technical Chapter 2 PREPARING YOUR ASSETS This chapter is likely to make the largest positive impact on a post-production pipeline. It’s vital to set up both your hardware and software properly before you begin editing. The time spent on making your pipeline bulletproof will pay you back tenfold downstream. By exploring the myriad preferences and settings within Premiere Pro, we were able to optimize the interactions between editor, NLE and workstation. When set up correctly, the machinery becomes invisible and the editor can focus solely on storytelling. Premiere Pro preferences With 18 separate tabs of preferences within Premiere Pro, setting up a project can quickly become overwhelming. Here are all the options we chose on each tab with emphasis and explanations for the most critical functions on each page. You can duplicate our settings using the images below: This chapter looks at all the settings and preferences used on "6 Below." Through trial and error, we chose the most powerful and stable options within Premiere Pro and wed these to the strengths of our Dell Precision workstation. General panel Bins: To maintain an organized workspace, our default setting was “Double-click” on a bin to add a tab to the current panel you are working on. This makes navigation easy and maintains a clean interface. The standard “Open in new window” will cause a bin to float and not be attached to any panel. As a result, bins can become lost behind the main workspace and hidden from the editor. IIn addition, the ever-useful tilde key (~) functionality for maximizing the panel you are using to full screen becomes inoperable with floating bins. I recommend utilizing one of the numerous workspace options that come with Premiere Pro or using my custom VashiVisuals workspaces that offer the most flexible and logical setups. Show tool tips: Enabling this option allows you to hover over an icon or item within the workspace so that the name or function you select temporarily pops up. With so many options in the NLE, this helps confirm you are interacting with the right one. Appearance panel To battle eye fatigue, it’s a good idea to adjust the contrast of your monitor. With so much visual stimuli on screen at all times, you need to be able to quickly locate the panel or asset you are looking for. We chose the darkest setting for the background and the lightest setting for the text and highlight color. This gave us the highest clarity and optical distinction, helping interact with all the tools and panels while editing. Audio panel Auto save Automatic audio waveform generation: Autosave: We turned this on so that every new audio asset imported into our project would automatically have its waveform drawn and saved. This allowed us to resize the waveforms in the timeline at any time without having Premiere Pro redraw them. This process occurs in the background the first time you import new assets and will allow you to edit during playback even if you zoom into the timeline or resize the audio tracks on the fly. To minimize the risk of loss in case of a crash, we set this to the lowest setting of 5 minutes. The amount of fine work you can lose in 10 minutes, for whatever reason, will make you wish you had chosen the shortest option. The autosave function will only initiate if you’re not interacting with the software and the ‘save time’ is continually improving. Automation keyframe optimization: We used the volume mixer sliders inside the audio clip mixer to make automated audio adjustments during real-time playback. This is much faster than adding keyframes oneat-a-time with the mouse. Our optimal preference created 4 keyframes per second on the audio clip associated with the slider. We will explore how to best use this function in more detail, in the Audio Editing and Mixing chapter. Maintain pitch during shuttling: Using this function helps you hear the dialog in normal pitch when you play your video back at 2X speed. Great for documentaries, long monologues and when you have hours and hours of dailies to review. One critically important note: The AutoSave versions are unique, stand-alone versions of the Master Project (.prproj) stored in a folder of your choice. If you crash, try to open the Master Project first and choose the “Recovery” option to make a functional copy of your most current Project. This is your only opportunity to restore to the latest state of save. If successful, this Recovery Project will always be more current than the latest Auto Save. Capture If you plan to ingest assets from a tape deck (VHS, HDCAM, BETA…) make sure you have the first 2 boxes checked. It’s important to know if any frames drop during capture as this causes incomplete files. This can come into play when editing documentaries or any other project that have multiple analog source formats. Audio hardware Sample rate: Collaboration The default 44000 Hz setting should be changed to the broadcast standard of 48000 Hz to avoid sync issues such as audio drift. This simple adjustment will help you maintain a professional and compatible audio pipeline with the rest of your team, throughout post-production—all the way to the final audio mix. The new “Project Locking” feature was added in Adobe Premiere Pro CC 2018. Enable it at the bottom of the panel and add a user name for each workstation. This makes collaboration among the team members stable and safe and prevents overwriting of shared projects. Without these options enabled, you will not have access to Project Locking across your team’s workstations and overwriting your work becomes possible. Double check all settings on each and every connected machine. Chapter 2 Preparing Your Assets Control surface Labels This is where you activate your Wacom tablet, Tangent color grading surface, Loupedeck editing console, MIDI device or any other peripheral device besides your basic keyboard and mouse. Make sure your drivers are up to date when adding these devices. Labels are critical for organizing your media, sequences and all other assets within the project. You can change both the name and color of each Label option by clicking on them and choosing what best works for you. The ‘Miami Vice’ color palette can be adjusted into primary colors and the Label Colors can be renamed to match (Red, Blue, Green…) to make it easier for your team to assign colors to assets. Media For a solid workflow and optimal team collaboration, there are several critical options that must be selected. Indeterminate media timebase: This should match your project master framerate. Timecode: Device control If you are capturing media off digital tape decks or camcorders, you can specify the settings on this page. This is essential for documentaries or mixed media projects captured with older digital devices. To properly sync video and audio and create Multi-Cam clips that are accurately in sync, choose Media Source. Default media scaling: We chose Set To Frame Size as this will not resample any video media when you place it into a sequence, regardless of the sequence size. When we put our 6K RED files into a 4K sequence, Premiere Pro would resize it smaller but use all the pixels of the 6K file. This provides pixel-forpixel scaling with no loss of quality. To achieve this result, the Set To Frame option must be selected in the Master Project Preferences before you ingest/import any video footage or media. Write XMP ID: We selected this so that every media asset imported into the project had a unique ID in the metadata field. This is one step in preventing duplicate media appearing in projects during shared project workflows between editing teams. Graphics We chose European for English-based text. Chapter 2 Preparing Your Assets Write clip markers: We selected this option so that markers placed on sequences and clips can be shared between different projects on different workstations during a shared project workflow. If not selected, markers will only appear on the workstation that created those markers. Labels (cont.) Playback Allow duplicate media: Pause media encoder: We did not select this so we could have only one master clip/asset associated with every sequence regardless of which workstation we were editing on. Checking this option will allow you to encode or create proxy media in the background while editing in Premiere Pro at the same time. This will stop the encode during media playback in Premiere, ensuring higher-quality and smoother playback. Create folder: Turn this option on to avoid assets “floating” in your Project Panel when importing from another project. All assets imported will appear in their own folder with the name of the other project. This helps keep your Project panel clean. Automatically hide: Turn this on to hide any duplicate files inside your bins when importing sequences from another project. You can always right-click in any bin to SHOW HIDDEN FILES if needed. Premiere Pro CC 2019 has a CONSOLIDATE DUPLICATES under the EDIT option that will remove all duplicate files from your entire project. Enable hardware: If your video card and drives allow for it, this option will improve performance during editing and encoding. Media cache We achieved the best performance by keeping our Media Cache folder on the fastest drive (SSD) possible. It should not be kept on the boot drive of each workstation as this will slow down performance. Ideally, it should be on an SSD shared storage solution for best results and accessible to all members of your team via the network. Cleaning the Media Cache or deleting unused media cache files can help resolve issues if you get irregular crashes or glitches in audio or video playback. Memory Every little bit helps speed up the process and we opted for 128GB of RAM for our DELL Precision workstations. Always use as much RAM as the budget allows to speed up renders, encodes and overall performance. Select the Performance option for Optimized Rendering to achieve quicker encodes. Assign as much of the RAM to Premiere Pro during editing and rendering as possible. Chapter 2 Preparing Your Assets Enable mercury transit: This must be activated to allow the video/audio stream from Premiere Pro to pass through any attached I/O hardware and reach your external monitors and speakers. Sync settings Sync Settings: If you’re connected to the Creative Cloud, your workstation settings can be uploaded or downloaded to give each team member access to their personal and customized settings. For secure workstations without internet access, these settings and preferences can be manually saved and installed on any workstation. Copying the files from this path will allow any team member to carry their settings with them on a flash drive: Timeline These are our optimized preferences for working in a 23.976 fps timeline on feature films. The top half can vary, based on an editor’s personal taste, but the remaining options should follow these guidelines for best performance. Set focus: We used this option so when choosing the IN and OUT points in the Source panel, we can insert or overwrite via keyboard shortcut directly into the timeline without having to activate it. This saves one click every time you add a shot into the timeline. Snap playhead: To enable the SNAP function in a timeline, the function must first be activated here. If not selected, SNAP will not work in the timeline even if turned on within the timeline. Premiere Pro Project settings There are three more master settings that you must address before you start importing assets and begin editing. These are mission critical and will affect everything from performance to render times, to organization. Under the File tab, choose New Project. This will open a 3-tab window. First, give the project a name and assign the location where the project file will live. The project file can live on your boot drive or any other attached drive. We preferred to keep it on the internal SSD drive and backup all project files at the end of each day to multiple locations such as a flash drive and attached RAID. Display out of sync: Activate this so you can observe any clips that have video and audio out of sync in the timeline. Show clip mismatch: We activated this so we were aware of any media that did not match the sequence parameters inserted into the timeline. We could then choose the best method to adjust the media to ensure a cohesive workflow. Match frame: When replacing a clip in the timeline from the source panel, we activated this option so the IN point of the clip in our source panel was used as the first frame (as opposed to the first frame of the entire clip). Trim Allow selection: We deactivated and made Regular trim the default edit mode (as opposed to Ripple trim mode). We preferred to see a gap when trimming clips—to confirm the edit, then close the gap with a ripple delete. Allow current tool: This allows for Rolling edits to be performed by clicking on an edit point. Shift clips that overlap: We enable this option so that when you Ripple Delete, any gap in the timeline will be closed and clip collision will not occur. Chapter 2 Preparing Your Assets General tab: If you have a compatible graphics card, choose one of the Mercury Playback Engine GPU Acceleration options. Depending on your card, this will be CUDA, Metal or OpenCL. NVIDIA GPUs are optimized for CUDA playback. All three GPU options will enable enhanced playback and rendering of all video codecs. The other option is Software Only mode and this will dramatically limit performance and playback. Please utilize the best graphics card your budget allows. We chose Timecode and Audio Samples for our display formats. Display the project item name and label color: If selected, this will maintain the relationship between the name and label color of any asset in the Project Panel and any instance of that asset in any sequence/timeline of your project. Change the name or color of a master file and it will ripple through every sequence and change the name or color. If deselected, we could change the color or name of a clip in a sequence or timeline without changing the master clip in the Project panel. We enabled this function so every asset matched name and color in all locations. Scratch disks: Custom Premiere Pro project template #1 This setting should point to your main storage system where all your assets live. In our case, it was the 64TB RAID that was connected via 10GbE cards to our 5 edit bays. We chose “Same as Project” for all options. As mentioned before, keep the Media Cache on another drive as you will lose performance if it lives in the same storage system as all your raw footage and assets. I have created several project templates to give you and your team a blank canvas on which to build. They are expertly set up for an organized workflow and have been utilized on some of Hollywood’s biggest feature films. All you have to is import your media, place it into the appropriate bins and start to edit. Ingest settings: Our workflow utilized the native RED R3D 6K files, so we did not use this option. If you prefer to use a Proxy workflow and transcode your native footage into smaller files than you can select the INGEST and create proxies using the built-in presets here. If you desire a preset that is not listed in the default, you will need to open Adobe Media Encoder and create an INGEST PRESET to match your needs. Click on the PLUS ICON under the Preset Browser to create an Ingest Preset. Deadpool Premiere Pro project template: I created this template for the post-production of “Deadpool” (2016). As the editorial consultant on the film, I was tasked with finding the most elegant solution to help the team tackle this enormous challenge. This 2-monitor template was used by all 7 members of the editorial team and helped them wrangle with some 550 hours of footage. It includes the PANCAKE TIMELINE workspace that uses 2 stacked timelines to give the editors the freedom to craft the story. The editing process using this template will be detailed in Chapter 5. This new preset will then be available in the INGEST SETTINGS panel. In the Project Settings Ingest Panel, you can now choose CREATE PROXIES and CLICK on the ADD INGEST PRESET. Navigate to your custom preset created in MEDIA ENCODER. The location of these presets is: Documents/Adobe/Adobe Media Encoder/Latest Version (11.0, 12.0, 13.0...etc.)/Presets/. Download Deadpool Premiere Pro project template › Chapter 2 Preparing Your Assets TALES FROM THE TRENCHES #3 BEFORE YOU START EDITING YOU MUST DO TWO THINGS: Organize your footage Familiarize yourself with the footage Chapter 3 PROJECT, PREPARATION, OPTIMIZATION This chapter will share the best methods for importing all the assets needed to edit your project and how to organize and prep them for the actual editing process. We will cover bin structure, naming conventions, transcoding media, syncing video with audio and creating MULTICAM files. Each one of these steps is essential to properly prepare a project for editorial. Any mistakes or overlooked elements will cause havoc downstream during post-production. Bad decisions early on can result in a loss of both time and money. This is where proper planning pays off. Every project should have a realistic and attainable budget and schedule. By being organized and diligent, you should steer clear of any technical issues and be able to focus solely on the creative task of storytelling. Filmmaking is both a marathon and a sprint. You must be agile, flexible and have great stamina. This chapter highlights the best practices we used to successfully prepare our film for the editorial process. Ingesting & importing assets On “6 Below”, we shot for 30 days with two RED 6K Dragon cameras and captured the 6K RAW R3D files at a 4:1 compression ratio. We had 60 hours of footage totaling 32TB; plus 4TB of GoPro and Canon C300 4K files. Before this footage was brought into the edit bay, it was backed up twice on a dozen 8TB USB3 drives. At the end of each day’s shooting, the RED files were brought to the edit bay for ingesting and organizing. We chose not to transcode the files or make any proxies for our workflow. Our Dell Precision 7910 workstation (20-cores) was at maximum utilization, but the NVIDIA Quadro M6000 12GB graphics cards helped us playback the 6K R3D files in real-time. This had never been attempted before on a Hollywood feature film, but we succeeded in completing all the post-production in native 6K and handed over all final deliverables for distribution. We eliminated the offlineonline edit process and bypassed the tedious and time-consuming Conform process by maintaining a native 6K pipeline. I believe this will be the ‘new normal’ for post-production of all projects—large and small— regardless of budget. It is quicker, requires less storage and allows for the highest-fidelity assessment of the footage throughout every stage of the post-production. Ingest/import At this point, you should create a new default Premiere Pro project or open one of the Project Templates provided within this document. My Project Templates come pre-built with bins for organizing all your assets. You can download my VashiVisuals 1 Monitor Project Template designed for laptops and single monitor workstations here › Please apply all the preferences and settings discussed in Chapter 2 before you begin importing your assets. To import assets into Premiere Pro, the best practice is to exclusively use the Media Browser panel. This is the Finder built into Premiere Pro that allows both preview and import functionality. We advise this option as opposed to the File > Import method that is commonly used for several reasons. TIP: Always use Media Browser to import all of your assets. This ensures all metadata and spanned footage is brought into your project properly. Media Browser is built with the express purpose of recognizing every type of video and audio asset while importing it cleanly along with all associated metadata. In the case of R3D files, (which are structured to be buried many bin levels deep and are often separate files with many extra text files attached), using the Media Browser feature gives you visible access to each complete R3D file and its relevant metadata as a single unit. Media Browser merges all relevant files and shows you only one master clip for each R3D file. These can then be previewed and imported individually, by an entire bin or as a whole card. Media Browser consolidates all other camera files in the same manner and will also automatically merge shots bridged across 2 cards. Media Browser makes importing clean, simple and safe. If you opt for the File > Import method, you will end up importing a ‘Russian doll’ bin structure for each clip that can be several bins within more bins. You will also possibly see an import error from Premiere Pro that says some files cannot be imported. Please avoid this method unless you enjoy digging through endless bins and having incomplete files. Inside the Media Browser panel, there are two sections. The left section contains the available mounted drives and the right section is the Preview area. TIP: Hit the tilde {~} key to make Media Browser full screen and gain more monitor space and real estate. This option, unique to Premiere Pro, makes everything from a laptop to a full-blown workstation more easily provide you with the visual feedback to examine the assets you need to tell your story. If you click on any of the drives on the left side, the contents of that drive appear in the right section. At the bottom of the Media Browser panel, we always used THUMBNAIL VIEW so we can see the actual video files. The slider at the bottom of the panel will resize the thumbnails to best fit your monitor. It’s also helpful to activate HOVER SCRUB so you can drag your cursor across the video files and view the contents of the shot. This functionality is enabled at the top of the Media Browser panel menu. Click on the 3 horizontal lines next to the Project tab and select Hover Scrub. Chapter 3 Project, Preparation, Optimization You can now select individual clips or a range of clips from the right side of the Media Browser panel and RIGHT-CLICK to import them into your project panel. If you select the first clip then hold SHIFT and select the last clip it will highlight all the assets in that range. RIGHT-CLICK will import them all. COMMAND-A will select all assets in the panel and then RIGHT-CLICK will import them all. Finally, you can RIGHT‑CLICK on any bin of the left side of the Media Browser to import the whole bin. TIP: To import assets into the bin of your choice in the Project panel, click on the appropriate bin (so it’s highlighted) in the Project panel BEFORE you import the assets from the Media Browser panel. If you do not click on a bin, the assets will be imported into the Project panel, float in the panel and not be placed in a bin. On “6 Below”, we had a separate BIN for every scene in the film and would import the relevant video and audio files into that BIN. We ended up with 102 scene BINS that contained all 60 hours of raw footage. TIP: You can also select the clips you want to import and DRAG them onto the NEW BIN icon on the bottom of the Project panel to create a new BIN containing your selected clips. The BLUE BIN icon below is where you need to drag your clips. Repeat this process to import all your assets into their respective bins and you will have a clean and organized project before you even edit the first frame. My Project Templates contain 11 pre-named bins to help you distribute your assets into the logical places. Properly setting up your assets in this manner will also help any other team member navigate the Master Project or work within a Shared Project workflow where all team members are working in numerous projects at the same time. Consistency in your workflow methodology will help you avoid the pitfalls of a poorly planned project. Creating a sequence Now that all your assets have been imported, it’s time to create a sequence that will have the correct settings for the project. It’s important to note that Premiere Pro is both resolution and frame rate independent. Unlike other video editing software, you can change the sequence size and frame rate at any time. Premiere Pro will resize the footage and adjust the frame rate to match any sequence setting and give you real-time playback. Ultimately, the best practice is to edit in a sequence that either matches the native source footage or edit in a sequence that matches the specifications of the final deliverable. In the case of “6 Below”, we had to deliver six master deliverable files in six different resolution sizes. We created: • 6K Barco Escape version • 4K theatrical • UHD theatrical • 4K DCP • 2K DCP • Blu-ray and HD versions. Our master sequences were 6K (6144x858) for the Barco format and 4K (4096x1484) for the theatrical version. All subsequent versions were exported from these 2 Master sequences using Adobe Media Encoder. To create a sequence from scratch, choose FILE > NEW > SEQUENCE and you will see 4 tabs of options. SEQUENCE PRESETS provides over 100 presets to match the current industry standard cameras in every possible combination of resolution and frame rate. If you can match your camera and settings with a preset then choose that. Remember you can always change the settings at any point. SETTINGS allows you to further refine the parameters and also lets you pick the size and codec of your Video Previews for any renders as required during the edit. We used GoPro Cineform 10-bit preview files but Apple ProRes is now compatible with both MAC and Windows operating systems and ProRes 422 (proxy) is another great crossplatform option. TIP: Turn off the ‘Composite in Linear Color’ option for all your sequences as it can cause additional GPU resource usage which will affect overall performance. Chapter 3 Project, Preparation, Optimization TRACKS allow you pick the number of video tracks and the number (and type) of audio tracks your sequence starts with. You can always add more of either at any point. The Audio tracks are especially important you must select the track type for each individual track. In feature film production, dialog, foley and sound effects are mono files. Music, ambiances, backgrounds and explosions are stereo files. The default STANDARD track will accept both mono or stereo files. The Master audio setting represents the audio output provided by the sequence. STEREO is the default and creates 2-channel playback and exports. If you want to edit in 5.1 surround sound you must choose 5.1 in the Master setting. This allows you to playback all six channels and control their positioning in the surround sound space. TIP: Once created, you cannot change the Master audio setting for a sequence. For example, if you make a Stereo sequence and then need a 5.1 surround sequence, you will need to create a new 5.1 sequence then copy and paste the contents over. VR is the last sequence setting with an option of None or Equirectangular. We did not use this option for our project. TIP: From the bottom of the Settings, Tracks or VR tab, you can save the sequence as a PRESET and use that as a default for the project. This is essential for maintaining continuity in both single projects and collaborative workflows. The second method for creating a new sequence from your footage is via the Project panel. If you RIGHT-CLICK on any clip in any bin, you will see the NEW SEQUENCE FROM CLIP option. This creates a sequence that perfectly matches your native video and audio footage settings. The default sequences often come with only a few video and audio tracks. They are also not labeled by name for the assets that will be added to these tracks. It is best practice to rename each individual video and audio track to reflect what it will contain during post-production. Even on smaller projects, expect to have 10 or more tracks for both video and audio assets. Once you have enabled the track names to be visible (as previously explained) you can RIGHT-CLICK on a track name and choose RENAME. Apply the name of your choice that matches the category of the asset for that track. This can be Video, VFX, Text, Speed Ramp, Stock for a video track or Dialog, Music, SFX, Background for Audio tracks. The “Sharknado” project template included with this document has pre-built and named track assignments for its timelines that cover the majority of needs for a feature film. You can always add or delete tracks to further customize any timeline. Syncing and multicam In feature film production, the main camera is usually not recording the dialog or sound for the scene. Doublesystem recording is the process by which another device is recording all the audio. These audio files must then be synchronized with the video files for editorial. MULTICAM refers to clips that have more than one camera shooting the same scene at the same time. MULTICAM clips must also be synchronized so the audio matches all individual camera angles. Premiere Pro has an identical process for syncing video + audio and for creating MULTICAM clips. The MULTIPLE CAMERA SOURCE SEQUENCE (MULTICAM) is the solution for all syncing. A MULTICAM is actually its own sequence that contains the aligned video and audio files which can then be inserted into your timeline. There are five ways to accomplish this in Premiere Pro. You can use: IN POINTS, OUT POINTS, TIMECODE, SOUND TIMECODE or AUDIO to create MULTICAMs. The best practices for the other settings are as follows. SEQUENCE PRESET should be left on AUTOMATIC to match your current master sequence. MOVE SOURCE CLIPS TO PROCESSED CLIPS BIN should be selected. This will move the original video and audio clips into a new bin within the current bin and leave the new MULTICAM in the current bin. The most common option is to use TIMECODE as the camera and audio recording device should have matching timecode embedded into their respective files. Premiere Pro will read the timecode and align the files accordingly into a new MULTICAM. This process is almost instantaneous as Premiere Pro is reading the metadata and making a simple calculation. Chapter 3 Project, Preparation, Optimization AUDIO is the second most common option and is very popular for independent productions, commercials and other short-form content. Choosing AUDIO will enable Premiere Pro to analyze the audio waveforms of the selected assets and sync them based on that parameter. This process takes longer than the TIMECODE option but will achieve the same result. The AUDIO option requires that the camera is also recording audio from either an internal or external microphone. This is called SCRATCH AUDIO as it will only be used to provide a guide track and an audio source to sync to in post-production. You can also choose which audio track will be primary in the TRACK CHANNEL option or you can opt for MIX DOWN which plays all the audio at the same time in one track. The SOUND TIMECODE option uses the same process as TIMECODE and is useful if several audio recording devices were used during filming the same scene. An example would be four actors wearing wireless microphones that all need to be synchronized. The IN POINTS and OUT POINTS options rely on manually selecting a frame in each asset to use as the sync point. This will often be the sound of a slate being snapped shut or the clap of hands. This creates a one-frame loud sound that’s easy to sync to the video or with the waveform of the audio clip. The problem with this method is that each MULTICAM must be set up manually, which can be very time-consuming. The other three methods offer the benefit of automated synchronization and also Batch Syncing. The AUDIO SEQUENCE SETTING allows you to pick which camera or audio source will be the primary sonic signal. When syncing one video with one audio track CAMERA 1 is the correct setting. When making a MULTICAM, you can choose the audio source you prefer to be the primary audio. The new MULTICAM sequence will mute all other audio channels and make CAMERA 1 the primary audio. Once created, you can always open the MULTICAM sequence and choose another audio track to be the primary source as needed. AUDIO CHANNEL PRESET was left on Automatic for “6 Below” and matched the number of audio channels recorded during our production. TO RECAP: Syncing audio and making MULTICAM sequences are the same process and both create a nested sequence that is editable and adjustable at any time. This new MULTICAM sequence can be edited into your timeline just like any other clip. TIP: BATCH SYNCING allows you to sync groups of video and audio files at once. As long as a BIN contains only video and audio files (no image files) you can RIGHT-CLICK on the bin and select CREATE MULTI-CAMERA SOURCE SEQUENCE. Premiere Pro will analyze all the contents of the bin and create individual MULTICAMS using Timecode or Audio (waveforms). Any assets that do not match timecode or audio with another asset will not sync and maintain their original state. Custom Premiere Pro project template #2 I have created several project templates to give you and your team a blank canvas on which to build. They are expertly set-up for an organized workflow and have been utilized on some of Hollywood’s biggest feature films. All you have to do is import your media, place it into the appropriate bins and start to edit. Blockbuster Premiere Pro project template: I created this Premiere Pro Project Template to replicate the timeline and bin organization used to edit MISSION: IMPOSSIBLE - FALLOUT. It replicates editor Eddie Hamilton, ACE's project and consists of 23 video and 23 audio tracks and bins all labeled and ready to go to start your project. It’s available in both 1- and 2-monitor versions and gives you a comprehensive platform on which you can build your story. This exact layout was used on a $200 million dollar Hollywood blockbuster that demands the deepest structural organizational needs. It may be more complicated than you need, I wanted to share what professional editors use at the highest level. You can always delete any tracks you don’t need and create your own custom Project Template. This Project Template also includes instructions on how to enable the TRACK NAMES for each individual track so they are visible at the smallest track height. The key to successfully editing feature films is to start with a project timeline that will handle all your assets cleanly over the months of post-production. No matter what NLE you use for editing… the principles of organization and efficient workflow remain the same. Download Mission Impossible - Fallout Premiere Pro project template › Breakdown of all 46 tracks in the project template Chapter 3 Project, Preparation, Optimization TALES FROM THE TRENCHES #4 THE FILM EDITOR MUST ALWAYS: 1. Watch every frame of raw footage. At least twice. Then start. 2. Nurture the relationship with a Director. It's sacred. 3. Find any shot instantly. Organization is paramount. 4. Factor in extra time for renders / exports / errors / crashes. 5. Attempt edits that shouldn't work. You'll be surprised. 6. Spend more time on audio. It is the glue of your edit. 7. Cut for the scene but always in context to the whole film. Chapter 4 EDITING IN PREMIERE PRO Now that your project and settings are properly prepared, the act of editing can begin. Just as a writer works on a blank page, the editor works on a blank timeline. Unlike the page which can only hold so much information, the timeline can hold almost infinite material. In the pre-digital days of celluloid, a movie print was composed of numerous film reels that were projected in the proper order. TITANIC (1997) consisted of 17 reels of film that had to be played one after another for the audience to view the entire 195-minute running time. The reel of a movie is the equivalent of a chapter to a book. A Premiere Pro timeline has a maximum time limit of 24 hours (horizontally viewed) but it can hold as many tracks (vertically) as you can create. You can edit an entire feature film on one timeline and I have done that several times as a solo editor. In the world of SHARED PROJECTS with several team members editing at the same time, it is considered best practice to split the project into REELS. This method also allows for exporting segments of the film to the Color Grade and Sound Mix teams as REELS become LOCKED (no further changes). By sharing locked REELS, the additional components of post-production can be addressed without stopping the work of REELS that are not yet completed. In a later chapter, we will explain in detail the SHARED PROJECT workflow used by our team on “6 Below”. In our editing workflow, each REEL is saved as a stand-alone Premiere Pro project that contains only the assets needed for that portion of the film. On “6 Below”, we split the film into six REELS (six separate projects) and each REEL was roughly 20 minutes long. This approach allows team members (editor, assistant editor, VFX editor) to work on different portions of the film without interrupting or overwriting the work of another team member. The essence of the edit 24 hours of 6K Red Dragon R3Ds. The max possible for one timeline. The editing phase of any project is limitless in the approach you take. You can start with the first scene or the last scene in the film. You can build a scene one shot at a time, slowly adding pieces and finessing as you go. An editor can also begin with all shots of a scene in one timeline and proceed to chop and delete unwanted material to create the final form. TIP: How do you tackle the footage? The six editing units of a feature film: SHOT / MOMENT / SCENE / SEQUENCE / REEL / FILM These components help everyone focus on the storytelling at both Micro and Macro levels at the same time. Every single edit affects the timeline and the story. Every individual decision can make or break the flow, rhythm or intent of the story at that moment. Each editing decision matters. In this chapter, I will share the most fundamental approach for editing a scene from scratch. The same principles for editing a 30-second commercial are employed for editing a feature film. The mastery of editing can only be achieved if you are organized and have a clear vision of what your goal is. I don’t begin editing a scene until I’ve read the script and watched all the footage/dailies and made my own notes. Communicating with the director/producer before you start editing is a great way to get pointed in the right direction. This chapter covers the basics of building a timeline from a well prepared and organized project. Once you are comfortable with this method, the next chapter will reveal my advanced editing techniques that I successfully utilized on my last five feature films. TIP: I’d like to dispel a myth about the complexities of editing a feature film. You do not need to know every keyboard shortcut or every function of the editing software to be an effective editor. The majority of mechanical steps a film editor engages in during a normal day can be boiled down to seven repetitive actions: IN / OUT / INSERT / OVERWRITE / LIFT / EXTRACT / TRIM With just these seven actions, you can build any story, no matter how big or small. The Bin At this point, the footage should be properly organized and each BIN should contain only the relevant footage for a scene. The BIN is where we go to find a shot and add it to our timeline. An adjustment I make to every BIN right at the start is changing the FONT SIZE to extra large. This can be done by clicking on the BIN menu (three horizontal lines) next to the BIN name and selecting FONT SIZE. With highresolution monitors and especially laptops, the default size can be a strain on the eyes. A BIN can be set up in two viewing modes: LIST VIEW and ICON VIEW. LIST VIEW can be selected by clicking on the 2nd icon from the left at the bottom of the BIN. This gives you access to all selectable metadata and clip information associated with the clip. These columns can be rearranged into the order of your choice by clicking and dragging the TAB at the top of the column. You can also click on the TAB name to sort them alphabetically or numerically within a column. This is essential for organizing your shots in consecutive/chronological order. The ICON VIEW is activated by clicking on the 3rd icon from the left at the bottom of the BIN. This shows a video thumbnail of each clip and is the method we used on “6 Below” to organize our BINS. We activated HOVER SCRUB in the BIN menu, which enabled us to drag the cursor across the ICON to access scrolling playback through the video contents of the clip. The advantage of the ICON VIEW workflow is that you can arrange your clips in a visual order that you can predetermine. This allows you to arrange the clips in chronological order of how they were shot which will match the script supervisor’s notes. With this method, you can visually differentiate each shot within every setup. You will see, for example, four wide shots then four medium shots then eight close-ups in your BIN of one scene and navigate to whatever shot you need to examine. The ICON VIEW during the post-production of “6 Below” was locked to a grid formation. We could move clips to any position within the grid but we could not move a clip away from the grid and float it in the panel. The new version of Premiere Pro includes FREE FORM which allows you to organize clips in ICON VIEW in grid, floating and stacked workspaces within the panel. TIP: The last shot in any series of takes is usually the shot a director will embrace as completing the intent of a camera set-up and ask to move on to the next shot. An editor will often start reviewing the last shot first to look for a starting point in building the performance of a scene. Chapter 4 Basic Editing An added bonus of the ICON VIEW becomes evident when you CLICK on any clip. This activates (visually represented by a grey outline) and enables an interactive blue timeline underneath the clip to come into play. The editor can know to drag a PLAYHEAD under the clip and hear the associated audio and also enjoy the full-screen playback of the clip if an external monitor is active via the Mercury Transmit option in Preferences. This means you can examine any clip from the BIN whilst seeing and hearing it over an external monitor connected to your editing platform. A normal Hollywood edit bay usually has 2 monitors for the editor and a 3rd screen that is larger (42+”) which plays back the active window of the editing software. This allows the editor to preview from the BIN any clip the cursor is parked on or playback the SOURCE or PROGRAM monitor (if activated). It makes the large external monitor the ‘point of contact’ for sharing the output of the editing software at any given moment. The editor can transmit the video + audio of the BIN, the SOURCE or the PROGRAM monitor simply by clicking on the representative panel. Now that our clips are organized and accessible, we can begin getting the shots into the timeline and start telling the story. The Source Monitor The SOURCE monitor is the prep table of the filmmaking kitchen. Just like cutting the fat off a steak before you put it on the grill, we have to trim the shot to just the portion we need before it goes into the timeline. Although you can drag a clip directly from a BIN into the TIMELINE, the SOURCE monitor allows for precise, frame accurate selection of media to be placed into the TIMELINE. To load a clip into the SOURCE monitor, you can drag a clip into it or simply DOUBLE-CLICK the clip to load it. Once loaded, we need to trim the clip by selecting IN and OUT points of the whole clip. By default, the (I) and (O) keys will trim the head and tail of the clip and highlight the portion you have selected. From the SOURCE monitor, you can drag the clip (with IN and OUT points) directly into the timeline and place it anywhere you want. Another option is to drag the clip over the PROGRAM monitor where six drop zones appear on which to drop your clip. All six edit options are based on the PLAYHEAD position in the TIMELINE. Drag and release the clip onto the function of your choice. The Timeline INSERT will add your clip and push all clips to the right of the PLAYHEAD downstream. This is perfect for adding shots in between two existing shots. Most professional editors choose keyboard shortcuts to INSERT or OVERWRITE a clip into the TIMELINE from the SOURCE monitor. This is something that’s done hundreds or thousands of time a day. Removing the mouse from the process saves seconds on each edit and that adds up to minutes or hours over a day. As long as you make sure the PLAYHEAD is positioned in the spot you want to add a new clip, you can accurately build your scene and tell your story in less time. OVERWRITE will add your clip to the timeline at the PLAYHEAD but not move any clips. It is a destructive function and eats through any clips at the same position of the PLAYHEAD. In my custom keyboard shortcut workflow, I mark an IN (I) and OUT (O) point in the SOURCE monitor then hit INSERT (9) or OVERWRITE (0) to add a clip as all these keys are bunched together and I can feel them under my fingers. When you add any shot into the timeline, you must be aware of the SOURCE PATCHING on the left edge of the timeline. This determines where the video and audio tracks from the SOURCE monitor will be added into the TIMELINE. The default destination is V1 and A1 in the timeline. You can move the active, blue V1 and A1 icons up and down on the timeline to choose another track destination. OVERLAY will add your video and audio onto the next available tracks at the PLAYHEAD. If no track exists, it will create an additional track to your timeline. REPLACE will swap the shot in the timeline at the PLAYHEAD with the clip from the SOURCE monitor. The clip in the timeline will maintain the same length (IN and OUT points) even if your new clip is shorter. In this case, the IN point will stay the same but the OUT point will be lengthened to match the current clip in the timeline. INSERT BEFORE will add your clip to the timeline at the position of the PLAYHEAD in the exact same way as INSERT. INSERT AFTER will add your clip to the timeline at the next edit point and perform an INSERT edit that pushes all clips downstream. Many people prefer the ‘drag and drop’ method of building a timeline as it clearly states the function you are about to perform and you have visual feedback at the exact moment of the edit. In my experience, most professional editors prefer a keyboard shortcut-based method to be faster and more efficient. TIP: To insert only the video or audio portion of a clip in the SOURCE monitor, drag either the VIDEO or AUDIO icon from the bottom center of the clip down onto your TIMELINE. This is a great way to insert B-roll video clips over existing video or to insert sound effects and off-camera dialog into the existing edit without disturbing the existing edit. The number of video tracks being added to the TIMELINE will always be one, but if the SOURCE monitor has several tracks of audio, more audio sources will be shown (A1, A2, A3…) and available to add into the TIMELINE. If you need to add only the video or audio track from the SOURCE monitor into the TIMELINE, you must deactivate the SOURCE TRACKING for that track before adding in an asset. CLICK on the track designation (V1, A1…) and it will remove the blue color and disable that track from accepting any assets. Remember to turn it back if you want to add both video and audio for future edits. Removing clips from the TIMELINE can be accomplished in four ways: DELETE, RIPPLE DELETE, LIFT and EXTRACT. Like every function inside Premiere Pro, you can choose a keyboard function to match the desired action. DELETE will remove a selected clip or group of clips from the timeline and leave a gap in its place. RIPPLE DELETE will remove a selected clip or group of clips from the timeline and also remove the gap. This method will close the gap by sliding all clips further down the timeline to the left until there is no gap in the timeline. For DELETE and RIPPLE DELETE, you can CLICK on a clip or several clips to highlight them. You can also LASSO a range of clips with the mouse. Either way, the now active clips will have a WHITE edge highlight around them. LIFT and EXTRACT are the two other methods of removing clips or selections from the TIMELINE. These methods are more surgical and you must set an IN point and OUT point within the TIMELINE to utilize these two functions. Chapter 4 Basic Editing The TARGET TRACKING options are located just to the right of SOURCE PATCHING and are colored blue when active. LIFT and EXTRACT will only remove the range between IN and OUT points of active tracks. The clips or parts of clips that are going to be removed will always be indicated by a LIGHTER COLOR of the selected portion. TIP: SHIFT-CLICK on any video or audio track of the TARGET TRACKING to select or deselect ALL the tracks in the timeline. This is essential once you have 10 or 20 video or audio tracks that would require individual CLICKS to select or deselect LIFT will delete all targeted tracks between the IN and OUT points and leave a gap in the timeline. EXTRACT will delete all targeted tracks between the IN and OUT points and close the gap in the same manner as a RIPPLE DELETE. LIFT and EXTRACT allow you to delete parts of one clip or the entire selection area that resides within the IN and OUT points of the TIMELINE. Lastly, always delete your IN and OUT points before moving on to another edit as LIFT and EXTRACT are reliant upon those two points for each edit. The default keyboard shortcut for this in Premiere Pro is OPTION-X. In all four methods of removing assets from the timeline, always check your SOURCE and TRACK targeting to select ONLY the clips or parts of clips to be deleted carefully to prevent upsetting the fragile balance of the timeline. Taking care with every decision you make is paramount to the craft of editing. TIP: Map your INSERT / OVERWRITE / LIFT / EXTRACT keyboard shortcuts as close to your IN and OUT shortcuts as possible. This allows you to mark the IN and OUT points and add the shot without looking down at the keyboard. This muscle memory becomes second nature and will help keep you in the flow of editing. I always look for ways to remove the machine and focus on the story. Trimming Once you have built a scene composed of numerous clips, the next step is to massage the edit and finesse the flow from clip to clip. TRIMMING is the art of shaving or adding frames on every edit point to allow a seamless and thoughtful progression to the story. To effectively edit any project, there are three trim tools for basic editing that every editor should be familiar with. These are: NORMAL, RIPPLE and ROLLING trim tools. I prefer to address my trims and edits directly in the timeline using the default edit tools. Unlike other editing platforms, Premiere Pro lives in one TIMELINE mode that allows for TRIMMING and EDITING at the same time. It’s a flexible canvas and once you know a couple of keyboard shortcuts and modifiers, you can fluidly make adjustments from frame to frame. I prefer to enable the SNAP function which helps guide the cursor to any edit point for precise edits. It is located in the top left section of every TIMELINE and is represented by a BLUE MAGNET when on and a GREY MAGNET when turned off. TIP: In the TRIM preference panel, I deselect the first option “Allow Selection tool to choose Roll and Ripple trims without modifier key.” The fear of every editor is to knock a clip out of sync or to cut frames by accident with no visible sign that it happened. By avoiding RIPPLE EDIT mode as my default, any edit that I make will leave a gap in the TIMELINE that can then be addressed as needed. I always have the option of using RIPPLE EDIT by pushing a modifier key and performing the same action. TRIMMING an edit point using the mouse is an easy way to interact with the TIMELINE and get visual feedback on every decision you make. By default, if you hover over an edit point, you will see a RED bracket and arrow that shows you what side of the edit you will be affecting. Given two clips next to each other, the first shot is called the “A-side” or “Incoming” shot and the second shot is named the “B-side” or “Outgoing” shot. Furthermore, each one has a HEAD (start of the clip) and TAIL (end of the clip) which is a legacy of the days of celluloid. The RED bracket signifies NORMAL TRIM mode which will trim a clip and leave a gap (black video) when removing footage. You will only affect the one clip you are adjusting and not the rest of the TIMELINE. The RED bracket will flip depending on what side of the edit point the mouse is positioned. Also, you cannot ADD footage to the HEAD or TAIL of a clip when using the RED bracket in NORMAL TRIM mode. It is only for removing footage from one specific clip and will affect both the video and audio of the clip. Chapter 4 Basic Editing TIP: If you have a gap (black video) in your TIMELINE and you want to close that gap, the easiest way to accomplish this is to CLICK on the gap and hit the DELETE key. This will remove the gap and move all clips further down the TIMELINE to the left with one keystroke. By holding down the CONTROL key modifier and hovering the cursor on either side of the edit point, you enter RIPPLE TRIM mode and the cursor becomes a YELLOW bracket. In this state, if you CLICK and DRAG any edit point, it will allow you to either remove or add footage from either side and all the footage on the opposite side of the edit point will move in unison to leave no gap in your TIMELINE. Be aware that this method will constantly change the overall length of your TIMELINE with each edit you make. These are the bare basics and core components of film editing to tell a story. I often get asked how much work a film editor accomplishes in one day. After reading the script, watching all the footage (twice if possible) and editing a feature film for a normal day of 10 hours...here’s what I averaged daily on “6 Below” in the edit bay. The ROLLING EDIT trim function will shift the selected edit point left or right without moving any other clips in the TIMELINE. This mode is signified by a RED symbol with four arrows. It is enabled by holding down the CONTROL key modifier and hovering the cursor DIRECTLY over the edit point. It will turn RED and you can then DRAG the edit point in either direction. This trim mode will add HEAD and TAIL to both clips as you drag the cursor and there will never be a gap in the timeline. This is useful to make fine adjustments to a cut where the timing needs just a couple of frames of tweaking to give you the desired result. Chapter #4 asset Adobe Premiere Pro Default Keyboard Layout for MAC and PC The LINKED SELECTION option is one more valuable tool within every TIMELINE you should be aware of. It is represented by a pointer arrow over two rectangles and is located next to the SNAP icon at the top left of a TIMELINE. When activated (BLUE in color) it will treat every video and audio clip in your TIMELINE as one asset. When deactivated (GREY in color) every video and audio clip in your TIMELINE are treated as separate and individual assets. This means when TRIMMING in any mode, you will only be affecting the ONE CLIP (video or audio) that your cursor is interacting with. I prefer the activated mode so that I will not knock any of my clips out of sync when TRIMMING or moving any clip. TIP: To trim just the video or audio of any clip, you can temporarily enter the UNLINKED SELECTION mode. This is accomplished by holding down the ALT key then dragging on the video or audio part of a LINKED CLIP and trimming as needed. This is the easiest way to delete only video or audio from one clip. The ALT key can be used in NORMAL trim mode but also with the COMMAND key modifier together to gain access to RIPPLE or ROLLING EDIT mode of just the video or audio of any clip. These are called J-cuts and L-cuts and provide overlapping audio or video between two shots. In this way, the audio or video of the A-side of a shot can continue across the B-side of the next shot. This is also called “Checker-boarding” as your video and audio clips overlap down the TIMELINE. Chapter 4 Basic Editing 6 Below – Editing timeline after 4 weeks. Averaging about 3 minutes a day of edited scenes with separate dialog / audio / music / color passes The Rolling Edit trim function Checker-boarding To help you understand and appreciate the power of keyboard shortcuts, I’m including a link to a printable diagram that shows EVERY single default keyboard shortcut in PREMIERE PRO CC. It’s a great resource and has helped me harness the power of efficiency and become a faster editor. Thanks to my friend Dylan Osborn for providing this asset in both MAC and PC keyboard layouts. http://www.dylanosborn.com/training/ keyboard-layouts/ TALES FROM THE TRENCHES #5 EVERY EDIT IS THE MOST IMPORTANT DECISION AT THAT MOMENT. That one decision affects every cut before and after it. That one decision can make or break the entire story. Make every cut count. VashVisuals.com/blog Chapter 5 ADVANCED EDITING Editing a feature film is no easy task. Even if you know the basics of the craft, there are many pitfalls waiting for you around every corner. Some of those challenges are technical, some logistical and some organizational. Before you tackle a feature film (or any long-form storytelling project) you must make sure the foundation of your process is rock solid. You will be faced with bumps in the road, so you must be prepared. Filmmaking is a marathon, not a sprint. If you follow the recommendations of the first four chapters, you will be able to start your project with access to the combined experience and knowledge of the entire post-production team that worked on "6 Below." During our careers working on Hollywood films, we have all made errors and mistakes. We’ve misjudged, over-extended and learned hard lessons at the highest level. Through this journey, we’ve been able to refine, hone and optimize the post-production process, yet remained agile enough to embrace new technologies and incorporate them into our workflow. This chapter is a culmination of collaborative and advanced editing approaches that allowed our team to seamlessly integrate and tell the story in the most simple and elegant way. It’s important to stress again that this is not a hypothetical or suggested workflow. This is a proven and effective method that I have spent over 10 years to perfect. It has continually evolved and incorporates techniques I have learned or implemented on feature films including “Deadpool”, “Gone Girl” and even “Sharknado 2”. The six editing units of a feature film that the editor must always consider are: SHOT / MOMENT / SCENE / SEQUENCE / REEL / FILM An editor has to think about the Micro and the Macro at the same time. Every edit decision creates ripples throughout the entire project and that’s why we have to be supremely organized and familiar with the location of all footage at all times. Here is a detailed breakdown of how to embrace and implement our approach. It is a combination of analog and digital approaches that connect the old with the new. On a feature film, it is normal to shoot several hours of raw footage every day. The editor’s (and the assistant’s) daily job is to import, organize and review all the footage and start editing as soon as possible. We try to 'stay up to camera'. The goal is to cut scenes and evaluate if the coverage is working. If the director is amenable, the editor can suggest shots to flesh out the scenes on a daily basis. The “6 Below” editorial workflow can be broken down into these components: 1 KEM rolls 5 Dynamic linking to After Effects 2 Markers 6 Custom keyboard shortcuts 3 Pancake timelines 7 Shared Project / Project locking 4 Source / Program timeline separation KEM Rolls Markers The KEM is a flatbed editing system used to cut motion picture film. You would watch all the takes of printed film on one roll and start making your edit decisions based on viewing all the options. In the digital world, we can improve upon this technique while maintaining the analog feel of the process. Using this method, all footage lives in one SEQUENCE so you can pick and choose any shot at any time, to add into the SEQUENCE. The next ingredient in my custom workflow is MARKERS. They can be placed on both individual clips or a sequence. If a clip is selected in the TIMELINE, the marker will attach to the clip and follow it if you move the clip. If no clip is selected, the marker will appear at the top of the TIMELINE just above the timecode. Markers are often used to tag a certain moment, but I use them in a more global way to help navigate the KEM roll and jump directly to specific clips. I begin by taking all the footage shot on one day (or all the footage shot for one scene) and dragging it into an empty SEQUENCE. You simply select all the footage from the BIN and drag and drop it over. You can also drag an entire BIN over to the SEQUENCE to achieve this. In the KEM roll sequence that holds all the raw footage, I drop a MARKER on the first shot of every new camera set up. This is always Take 1 of every scene. I then move downstream and drop a marker on all the other first shots of the subsequent camera set ups for the entire SEQUENCE. I have already mapped GO TO NEXT MARKER and GO TO PREVIOUS MARKER as custom keyboard shortcuts. These allow me to jump directly to the first shot of every scene across the entire sequence. Furthermore, I have mapped GO TO NEXT EDIT POINT and GO TO PREVIOUS EDIT POINT as custom shortcuts as well. These allow me to jump to the start of any new take between the MARKERS as the KEM roll has no gaps between shots. With these 4 shortcuts, I can effortlessly move between all scenes and takes without touching the mouse or going back to the project BIN where all the clips live. TIP: Drag the selected files or BIN down to the NEW ITEM icon at the bottom of the PROJECT panel and it will create a SEQUENCE matching the frame size and frame rate of the clips. Now all your clips are in the SEQUENCE, back-to-back with no gaps between them. I like to leave the clips in chronological shooting order so that the start of the day is the first shot and the end of the day is the last shot in the SEQUENCE. I can now see every shot, all at once within the SEQUENCE and the end of the TIMELINE will show me the total amount of footage in hours, minutes and seconds. I can scroll through all the footage to review it or hit PLAY at the start of the SEQUENCE to watch all the footage in real time while taking notes and absorbing the performances. Remember to always watch every frame of raw footage. This is infinitely more effective than loading clips one by one into the source monitor to review. Also, I can budget my time as I know how much footage I have looked at and how much is left in the SEQUENCE by just following along with the PLAYHEAD. As someone that is stimulated by the visual, I prefer thumbnails and poster frames to the long columns of text names in a BIN’s LIST VIEW. To begin building a scene, DOUBLE-CLICK a clip in the KEM roll to load it into the SOURCE monitor, set IN and OUT points, then INSERT it into the master sequence. To cycle through all the TABS in the TIMELINE panel, use the default keyboard shortcut of SHIFT-3 or set it to something you prefer. This is a magical way to access all your assets, in all your timelines, with minimal effort. Chapter 5 Advanced Editing TIP: The TIMELINE can hold as many SEQUENCES as you need by cascading individual TABS in one panel. You can load several SEQUENCES at once and switch freely between them. My TIMELINE panel will often contain the KEM roll sequence of the scene I am reviewing, the master sequence I am actively cutting into, a music sequence, a sound effects sequence and a B-roll sequence all tabbed and easily accessible at any time. Also, remember that you can open multiple projects simultaneously in Premiere Pro. This allows you to keep your music and sound effects in separate, stand-alone projects that you can open and use on any project. One of the most important skills an editor must possess is to find a shot or clip as fast as possible. When a director asks to see the next take, I push my GO TO NEXT EDIT POINT button. When the director says let me see the next camera set up, I push my GO TO NEXT MARKER button. Directors have little patience for fumbling editors that cannot immediately find the shot they are asking for. By automating these functions to be single keystrokes after first setting up your KEM rolls with MARKERS in this manner, you become a fast and efficient editor. Directors and producers find this to be a highly valuable skill, as should you. TIP: When you add a MARKER, it is GREEN by default inside Premiere Pro. You cannot change the color until after you have added the GREEN one. Usually, you have to DOUBLE-CLICK the MARKER then choose another color and finally close the MARKER dialog pop-up. There is a faster way. I have mapped SET MARKER COLOR 1 to the keyboard shortcut next to my ADD MARKER shortcut. Once I add the mandatory GREEN MARKER, I immediately tap the SET COLOR MARKER 1 shortcut to change it to RED. There are eight separate SET COLOR MARKER(1, 2, 3, 4, 5, 6, 7, 8) keyboard shortcuts that coincide with the colors inside the MARKER dialog pop up. This means you can add a marker of any color with just two keystrokes anywhere in the TIMELINE. The MARKER PANEL is where we keep track of both the sequence and clip markers. Each time you add a MARKER, it will be added to the MARKER PANEL with a thumbnail. I adjust this panel to be very tall and wide enough to read the NAME and COMMENT columns. This is where I add the scene and take information along with any notes relevant to each MARKER. The best part of the MARKER PANEL is the search bar at the top. As soon as you start typing, it will show only the results that match what you have typed into the search bar. This allows you to isolate your specific choice (e.g. scene 4, scene 23) or to reveal only shots you have tagged with metadata such as “good” or “circle take” (which represent the director’s favorite take). Remember to clear the search bar before moving so the MARKER PANEL resets to show all the MARKERS you have created in the SEQUENCE. Pancake Timelines This component is the biggest departure from a conventional workflow and the biggest game-changer for editing a feature film. The PANCAKE TIMELINES is a technique where you STACK two timelines on top of each other in your workspace. This gives you direct access to both your KEM ROLL and your MASTER timeline so you can freely interact and exchange assets between them. As is often the case…simplicity drives productivity. By stacking 2 timelines on top of each other, an editor can now access an entire reel of selects in chronological (or any other) order and instantly drag and drop them into the active timeline below. The process of analyzing and deciding which shot goes into the cut is now streamlined and intuitive. One more helpful feature of the MARKER PANEL is that it switches between SEQUENCE and CLIP mode depending on what is active in the TIMELINE. If a CLIP is selected then only CLIP markers will be visible. If no CLIP is selected then only SEQUENCE markers will be shown. The CLIP markers will always be attached to the CLIP if you move them around in the TIMELINE. The SEQUENCE markers, by default, will not move within the TIMELINE if you RIPPLE DELETE any shots. To rectify this, go to the MARKERS menu at the top of the screen and select RIPPLE SEQUENCE MARKERS. When this is activated, the MARKERS will move to the left in the SEQUENCE when you RIPPLE DELETE. TIP: Any MARKER can be extended to cover a range of the TIMELINE as opposed to just one frame. By holding down OPTION/ALT and CLICKING on any MARKER, you can drag it either way to create a horizontal bar that maintains the color of the original MARKER. This EXTENDED MARKER can have text written onto it and can also be dragged left or right to cover your desired area of interest. DOUBLE CLICK anywhere on the MARKER to add text via the MARKER dialog pop up. I use this to clearly label an area and inform an assistant where to add sound effects, music or visual effects in the TIMELINE. We find this easier to track than sending notes or emails with timecode corresponding to each MARKER. Lastly, these EXTENDED MARKERS remain functional and independent when overlapping. Just CLICK on the visible portion of any MARKER to make it active. To create a PANCAKE TIMELINE workspace: 1. OPEN your KEM ROLL sequence in the TIMELINE panel 2. OPEN your MASTER sequence in the TIMELINE panel 3. Grab the KEM ROLL tab and DRAG it straight DOWN an inch. 4. You will see a PURPLE trapezoid. RELEASE the tab in that area. 5. You have created a PANCAKE TIMELINE workspace. The simplest way to build a scene in the MASTER sequence is to drag and drop clips from the KEM roll down into the MASTER sequence. Scroll through the KEM roll timeline to find the shot you want. Since this TIMELINE is active, the video output will be in the PROGRAM monitor and also any external monitor you have activated via TRANSMIT in the PLAYBACK menu of PREFERENCES. CLICK on any clip (or lasso several clips) and DRAG them into the MASTER sequence. This procedure is nondestructive and does not remove the original clip from its position in the KEM roll sequence. It makes a copy of the clip in the MASTER sequence. This does not copy the media or add new footage into your project. Both identical clips will reference and point back to the MASTER clip in the BIN of the PROJECT panel where you first imported the clip. This is one of the fastest ways to build out a scene from scratch. The beautiful part is you get complete access to all the footage at every minute. Once you have roughed out the basic edit, you can go back and fine tune by trimming each edit point and massaging the cuts until the scene plays and feels smooth and fluid. Chapter 5 Advanced Editing TIP: After setting up the PANCAKE TIMELINE, I add the MUSIC and SFX sequences next to the KEM roll so I can bounce between all 3 tabs on the upper of the two TIMELINES. In this manner, all the assets that will be cut into the MASTER sequence are always located in SEQUENCES above it and just need to be dragged down into it to be added. Source / Program Timeline Separation To further expand the power and flexibility of this sequencebased PANCAKE TIMELINE edit style, I have found a way for the editor to get visual feedback from both sequences at the same time and effortlessly edit between them. Normally the SOURCE monitor only shows the currentlyloaded clip and remains static when not active. You always have to load a new clip into it before accessing that specific footage. What if there was a way to make it fluid, responsive and give constant feedback to your footage? Here’s how to make that possible. What if there was a way to make it fluid, responsive and give constant feedback to your footage? The ultimate goal of building a scene is to SELECT a clip or portion of a clip from the KEM roll sequence and INSERT it into our MASTER sequence. We can always DRAG and DROP a clip over or COPY and PASTE a clip (or range of clips) at any time. This can become tiresome when repeated hundreds of times a day. Precision may drop when fatigue creeps in. Here is the best way I have found to set up the PANCAKE TIMELINE for optimal performance: An interesting phenomenon that occurs when I edit with PANCAKE TIMELINES is that I become very familiar with the general location of all the raw footage. The deeper I get into editing from a KEM ROLL sequence, the easier it becomes to recall clumps of shots—and where they are located, within a sequence of an entire day’s footage. From the bird’s eye view of an entire SEQUENCE, I can recall where shots live and that helps me isolate my search through many hours of footage. It’s equivalent to flipping through your favorite book and immediately finding the passage you were looking for because you have read it so many times. It’s an innate feeling that guides you exactly to the shot you were looking for. That is the primary reason I use PANCAKE TIMELINES at the core of my storytelling process. The PANCAKE TIMELINE technique is definitely effective in building a scene from scratch. The next step in our workflow allows you to build the scene with precise edits right from the start using the same principles but adjusting the workspace for additional functionality. Chapter 5 Advanced Editing 1. LOAD your KEM roll sequence from the PROJECT panel into the SOURCE monitor by dragging it directly or by mapping a keyboard shortcut to the function “OPEN IN SOURCE MONITOR”. Make sure you choose this function from the PROJECT PANEL section of the keyboard shortcuts. 2. Map the function “OPEN SEQUENCE IN TIMELINE” from the SOURCE MONITOR PANEL MENU in keyboard shortcuts. Use this keystroke to open your KEM roll sequence in the TIMELINE. You will see the KEM roll sequence in the TIMELINE and it will have a RED PLAYHEAD line as opposed to the normal BLUE PLAYHEAD line. The KEM roll will also have (SOURCE MONITOR) added after the name on the sequence’s TAB. TIP: By accessing the WRENCH icon on the SOURCE monitor, you will find an OPEN SOURCE IN TIMELINE option as well. Dynamic Link to After Effects Opening the KEM roll sequence with these 2 steps will lock the KEM roll sequence to the SOURCE monitor and unlock two critical functions. BENEFIT #2: When you set IN and OUT points in the KEM roll sequence TIMELINE (as opposed to within the SOURCE monitor), you can now INSERT or OVERWRITE that selection directly into the MASTER sequence with one keystroke. Essentially, you are cutting from one sequence into the other and selecting only the clips or portions of clips you need. This process entails only 3 keystrokes that you have already mapped as keyboard shortcuts. 1. Set an IN point. (I) 3. INSERT / OVERWRITE (9 / 0) This means you can scrub through your entire KEM roll sequence and select any video or audio clip (or smaller portion) and with 3 keystrokes add it to your MASTER sequence. You do not have to worry about dragging clips across TIMELINES and trimming them later. You don’t have to copy and paste from one timeline to another. You do not have to load individual clips to the SOURCE monitor. You select EXACTLY what you need from the KEM roll sequence and add it to your MASTER sequence with just 3 clicks. With this advanced setup and customized process, you will always see your KEM roll sequence only in the SOURCE monitor and your MASTER sequence footage only in the PROGRAM monitor. The left side of the screen is the raw footage and the right side of the screen is the output. You now gain a visual connection to both TIMELINES at once and they remain locked to their separate monitors. If you have an external monitor (TRANSMIT must be turned on in the PLAYBACK settings) it will always mirror whatever TIMELINE you are interacting with at that moment. Chapter 5 Advanced Editing “Gone Girl” had roughly 2,400 individual shots that comprised the entire film. About 90% of these shots were sent to After Effects via Dynamic Link. I will cover the exact process of how this is accomplished in Chapter 9 (VFX in After Effects). The bottom line is that Dynamic Link allows the VFX to be created at the highest quality possible and by another editor/VFX artist on a separate workstation. For most situations, this is a wonderful solution and helps keep the editor moving forward without having to export files and open them in After Effects for VFX shots. For more challenging shots or the need for greater precision, an alternative solution was needed. This workflow frees the lead editor to keep telling the story while the VFX artist works in concert with the editor to provide real-time VFX updates in the MASTER sequence. Through my work helping to implement the workflow on “Gone Girl” for David Fincher and his team, we all saw a need for Premiere Pro to be able to SHARE clips with After Effects in a real-time manner. From this need came the introduction of DYNAMIC LINK. Being able to open a clip concurrently in Premiere Pro and After Effects – allowed the power of both platforms to tackle and expedite the VFX process. 2. Set an OUT point. (O) TIP: To enable this workflow, be sure you activate this preference option: PREFERENCES / TIMELINE / SET FOCUS ON THE TIMELINE WHEN PERFORMING INSERT/OVERWRITE EDITS. This will switch the focus from SOURCE to TIMELINE when you hit INSERT / OVERWRITE and save you from having to activate the TIMELINE manually. If this option is not turned on, you cannot edit from one sequence to another via shortcuts. The Adobe Creative Cloud applications enable filmmakers to harness all the tools within its ecosystem. When a task can be better handled within a specialized and more robust platform, we believe it’s best to utilize that option. Over recent years, many components of After Effects (including Ultra Key, Warp Stabilizer, Masking and Tracking) have been ported across to Premiere Pro. TIP: You can have numerous SEQUENCES open in the SOURCE monitor and TIMELINE simultaneously. I will often TAB several SEQUENCES in this manner to the top TIMELINE panel so as to maintain the functionality of this advanced workflow. Just make sure you see the RED playback line in the TIMELINE so you can edit from one sequence to another. We had 205 VFX shots in “6 Below” and embraced the Dynamic Link workflow to take advantage of After Effects for our VFX. The normal delivery of VFX shots for feature films occurs at 2K. Every shot in “6 Below” had to be executed and finalized in 6K to meet the deliverable requirements. Given our budget and schedule, it would not have possible without the use of Dynamic Link. Custom keyboard shortcuts in Premiere Pro Every minute you can save while editing gives you more time to focus on telling a better story and refining the cut. Extrapolate how these saved minutes can accumulate over 10 months of post-production and you will begin to fathom the power of keyboard shortcuts. Any technique that gains an editor more time to cut is precious. For me and my fellow editors, customizing your keyboard shortcuts is one of the easiest ways to become more efficient. My shortcuts evolve over the years as new functions and options become available in the latest versions of editing software. The default settings are usually created by intelligent designers or engineers but not by working film editors. I always have the core functions that I repeat daily mapped in an ergonomic and logical way. I clump shortcuts in areas of the keyboard that fall naturally under my fingers which allows me to keep my eyes on the monitors and focus on editing. I have one group of often-used shortcuts for my right hand and one for my left hand. These two clumps cover 90% of my most-repeated actions and help to remove the machinery and keep me locked into a creative zone that is so important for film editing. Here are the keyboard shortcuts for my left hand: Here are the keyboard shortcuts for my right hand: ` - (tilde) - maximize or minimize panel under the cursor 9 - insert edit 1 - increase video track height in timeline 0 - overwrite edit 2 - increase audio track height in timeline - (minus) - lift 3 - minimize all tracks in timeline = (equal) - extract 4 - go to previous marker Delete - delete / clear / ripple delete on gap 5 - go to next marker I - set in point Q - ripple trim previous edit point to PLAYHEAD O - set out point W - ripple trim next edit point to PLAYHEAD P - copy A - selection tool mode for default arrow cursor [ - paste S - slip tool J - shuttle left Z - zoom in which works in timeline / source / program K - shuttle stop X - zoom out which works in timeline/source/ program L - shuttle right M - add marker , . - trim backward one frame - trim forward one frame Space - play or stop timeline / source / program These 28 keyboard shortcuts cover 90% of the functions that I use all day long and require the least amount of finger movement to accomplish the actions. It took me over 15 years to dial it in. Feel free to experiment and try it out for yourself. Chapter 5 Advanced Editing Shared Project / Project Locking The last step in the advanced editing workflow comes into play when you are working with fellow team members and everyone is working off the same shared storage (RAID, NAS, Isilon, Isis, Jellyfish, Nexis…) on the same network. TIP: If you are working with team members and not on shared storage the best solution is to create cloned drives that have the exact same name/folder structure/directory/ files. If all drives are identical, you can share Premiere Pro projects with the latest cuts between team members and not have to RELINK files every time you open a project. SHARED PROJECT and PROJECT LOCKING are critical to maintaining a safe and productive workflow in Premiere Pro. If you follow the steps outlined below, you will avoid the pitfalls of editors overwriting work in a project which is one of the greatest fears in post-production. The workflow can be easily broken down as follows. A MASTER PROJECT is created first, which is a container to hold all the SHARED PROJECTS that all team members can access and interact with. The MASTER PROJECT is no different from any PROJECT in previous versions of Premiere Pro. At the bottom left of the PROJECT panel, there is a LOCK icon which is controlled by whoever has opened the MASTER PROJECT. This user can choose to LOCK or UNLOCK the MASTER PROJECT for the other users to gain access to the SHARED PROJECTS. A SHARED PROJECT is created via the FILE / NEW / SHARED PROJECT menu. The SHARED PROJECT appears as an ALIAS within the MASTER PROJECT and has all the functionality of any other PROJECT. It is shown as an ALIAS (with a small arrow on it) to inform the team that it is a SHARED PROJECT and also has a GREEN (unlocked) or RED (locked) indicator. TIP: It is best practice to have only SHARED PROJECTS and BINS within the MASTER PROJECT. Additionally, BINS within BINS are a great way to organize assets. Do not float random individual files or clips inside the MASTER PROJECT. Every asset must be inside a BIN. Chapter 5 Advanced Editing The process is quite simple but must be set up properly before the team starts editing. As with any technical endeavor: take time to optimize, prep, confirm and set all preferences so you can start the project with a clean and stable foundation. 1 2 3 4 5 6 7 8 For every workstation attached to the shared storage, go to PREFERENCES / COLLABORATION / PROJECT LOCKING and activate the “Enable project locking” option. In the “User Name:” option, type in a distinct name associated only with this workstation. (e.g. User 1, Workstation 1, Edit Bay 2...) It took a lot of trial and error to create and perfect this 7-step workflow for the editorial portion of our journey. Post-production is such a fluid adventure composed of so many moving parts. There can be no weak links in the workflow when you have a tight schedule, budget and constantly looming deadlines. In the PROJECT panel, RIGHT-CLICK on the METADATA row that contains the attributes of the assets. Click on METADATA DISPLAY and in the search bar at the top enter “Project Locked”. Activate this option and close the window. The PROJECT LOCKED column will now be found at the extreme right of all the columns of the PROJECT panel. Grab the PROJECT LOCKED tab and DRAG it all the way to the left so it is now the first column in the panel. This must be done on each workstation and will show who has control of any given project. The name of any active workstation will now be shown with either a GREEN lock icon or RED locked icon depending on who has access to any project. Step 2 Chapter #5 asset Pancake Timeline Premiere Pro template for both 1 and 2 monitor workstations. Download Here › Step 6 IMPORT the assets you need into the SHARED PROJECT to begin editing. The team member that opens the MASTER PROJECT controls the project locking for all other team members. If the LOCK at the bottom left of the PROJECT panel is GREEN then all other users have READ ONLY access to SHARED PROJECT. They can view or copy any portion of those projects but are unable to make any edits or changes. If the LOCK is turned off (RED) for the MASTER PROJECT, any user can open a SHARED PROJECT and make edits or changes. Add to that the complexity of a native 6K workflow and you can really be playing with fire. Fortunately for us, our preparation and testing were solid and successful. We came out relatively unscathed and with some new tricks in our bag. Hopefully you learned some new techniques and approaches to help you with future projects. Step 3 Create a MASTER PROJECT by navigating to FILE / NEW / PROJECT. We recommend using the term “MASTER” in the name of the project so everyone on the team can easily identify it. Create a SHARED PROJECT by navigating to FILE / NEW / SHARED PROJECT. A new tab in the PROJECT panel of the MASTER PROJECT will show the new SHARED PROJECT and an ALIAS will now live within the MASTER PROJECT. TIP: For feature films using the SHARED PROJECT workflow, it is common to create REELS as SHARED PROJECTS that contain all the assets for roughly 20 minutes of a feature film. On “6 Below”, we created six projects (REEL 1 / REEL 2 / REEL 3 / REEL 4 / REEL 5 / REEL 6) so that our team could work on different parts of the film at the same time. Step 8 TALES FROM THE TRENCHES #6 TENS OF THOUSANDS OF SOUNDS MUST LIVE TOGETHER IN UNISON TO CARRY THE AUDIENCE ALONG THE STORYTELLING JOURNEY. This is my final timeline for “6 Below”. The film’s running time is 92 minutes. It contains over 1,200 individual video clips. Each video clip had anywhere from 6 to 18 audio tracks playing beneath it. That was just in my temp mix. The final audio mix, delivered in 7.1 surround sound, needed even more intertwined tracks and layers to build the film’s sonic world-scape. Tens of thousands of sounds must live together in unison to carry the audience along the storytelling journey. Chapter 6 THE IMPORTANCE OF SOUND To understand how to best attack the audio in a motion picture, it is important that I know all the different kinds of audio and sonic elements that comprise the final mix. Normally, there are five main categories of audio that I deal with: 1 2 3 4 5 SPEECH FOLEY AMBIENCE SOUND EFFECTS MUSIC (dialog, ADR, voice-overs) (synchronized sounds added to imagery: footsteps, squeaky doors) (atmosphere, room tone) (vehicles, explosions, rain, impacts, spaceships) (Songs played as source music and nondiegetic songs added later) Audio, in many low budget or independent productions, is often overlooked and neglectfully mishandled. The focus is often placed on capturing the perfect image with audio an afterthought. The old adage that audio is more important than the image is hard to believe…until you are in post-production and learn that it is absolutely true. Great visuals accompanied by a badly designed and executed sound mix are inexcusable. Conversely, lots of blurry, handheld, whip-panned footage with pristine dialog and a full soundscape can be completely acceptable. It can be perceived as an “artistic choice”, even though shots are out of focus and flailing around. Audio is the glue that holds a film together: so embrace it. Great audio design and mixing can salvage and smooth over almost any visual mistake or become incorporated into a sonic style that elevates the film. The right song at the right moment can make a film iconic and unforgettable. Subtle foley can create tension, drama or single out an important story point. The magic of audio is immeasurable. As a film editor, I need to know as many tricks and techniques as possible to create the sonic world that supports the imagery and story. In this chapter, I want to share my favorite methods of building a successful audio mix and several audio shortcuts that help me deliver a complex, elegant and pleasing result. I find that organizing audio files in the TIMELINE is paramount to optimally interacting with all the files. I first create a Premiere Pro project template that has labeled audio tracks so I know where to put assets into the mix. This allows me to instantly see where the files are and makes for an effortless hand-off later when I send my mix to the Sound Mixer so they can do their work. Audio Post artists hate receiving a jumbled, unorganized mix and will charge you a lot more to tidy it up before they begin their work. My Premiere Pro Audio Mix project template is available at the end of this chapter to help you create an efficient and structured workspace. All five of these aural components take up a certain sonic range of frequency in the audio mix. This general range of human hearing goes from 20Hz to 20kHz and decreases as you get older or suffer hearing damage. It’s important to know where different sounds land in this range, so I can manipulate them to form an even mix. If too many audio elements occupy the same sonic register…my sound mix can become muddy, cluttered and unintelligible. My goal is to make each separate asset sound clear and clean. There is no right or wrong way to approach the sound mix for a feature film. I am building from whole cloth and weaving a sonic tapestry to help guide the viewer on their journey. I must stay organized (as with every other postproduction task) and create a sound mix that transports the audience into the story. Every click, pop or crackle that remains in my mix will ruin the experience, so I take great pride in the minute details along the way. There are ways to speed up this lengthy process and I would like to share them with you. I have included 12 of my VashiVisuals Custom Audio Presets at the end of this chapter. You can import them into your EFFECTS panel and access them anytime to help address these common audio issues. Tip #1 - Color your audio assets I have accumulated the following tips from over 25 years of trial and error editing audio on every digital platform that has come around the bend. The principles and application of these techniques are identical across all software. It becomes math and formulas with my own personal sonic sauce thrown in the mix. If you are looking for a needle in a haystack, it always helps to narrow down the search grid before you start. These tips have helped me dial in the best sound mix possible on “6 Below” and all my other projects. I always assign specific colors to each of the five audio components so I can visually spot them in my TIMELINE. Often I will get up to 30 audio tracks, so discerning the different assets quickly becomes critical. In the PROJECT panel, SELECT a BIN/FOLDER or LASSO individual clips then RIGHT CLICK and select LABEL to choose the color for each kind of audio asset. This helps me maintain a coherent workspace and shows me if an asset is out-of-place or missing. Building audio beds is a time-consuming task so I always strive to keep a neat TIMELINE. Finally, color coding my assets in a coherent way makes it easy for anyone else that has to open or interact with my project. The chart to the right gives me numerical values associated with the frequency range of audio files I deal with in post-production. Many of my upcoming tips are directly related to certain frequency regions that will benefit from isolated tweaking and equalization. I have created custom presets to help you solve audio issues and those are available at the end of the chapter. Premiere Pro also has a dedicated audio interface called the ESSENTIAL SOUND panel that I discuss later in this chapter. General audio level recommendations The creative task of audio mixing and sound design is a critical element in the post-production process. At the same time, care must be taken in delivering a sound mix that falls within a certain decibel range for optimal playback with no distortion or technical glitches. 0db is the maximum sound energy one can achieve before dreaded distortion occurs. That does not mean my mix will ever come close to 0db. After more than 25 years of audio mixing on feature films, I can confidently share the best practices for levels and decibels of a final audio mix. Sound is additive but decibels are logarithmic. Two 80db sounds played at once will increase the overall volume, but it will not be 160db. In general terms, every time your gain increases 6db, the volume doubles. On a feature film, with 30 or 40 audio tracks, I have to monitor and control the overall volume levels so they never hit 0db and cause distortion in the mix. The AUDIO METERS in Premiere Pro (or any NLE) will show you the current db level and give you the direct feedback to see where the audio levels are hitting. Every format (TV, web, feature film etc.) will have specific deliverable requirements for distribution that must be adhered to or they will refuse the end product and it will have to be mixed again. Let’s try to avoid that scenario! Chapter 6 Sound Affects Here are my general recommended levels to create a sound mix that is full and expansive but remains within delivery specs for a feature film: 1. OVERALL MIX LEVEL: -10db to -6db / max -3db 2. DIALOG: -12db to -6db / max -3db 3. SFX: -18db to -10db / max -3db 4. MUSIC: -18db to -12db / max -3db 5. Nothing should EVER hit 0db 6. Always watch your Audio Meters to monitor levels 7. Follow all deliverable requirements for every project 8. Let your ears guide you, but rely on meters for assurance Tip #2 - Normalize dialog Clear and matching volume levels of dialog is one of the most important tasks right out the gate. Even at the earliest stage, a scene must have dialog that is properly heard and digested by the audience. The audio coming from the camera or audio-recordist is often quite varied in volume levels. It can be low in volume to protect against over-modulation (distorting) or be very hot to the point of clipping. In the past, I would adjust the volume of every dialog track by hand. As you can imagine, this takes a lot of time. In Premiere Pro, there is a way to NORMALIZE audio tracks to bring all their relative volumes to a predetermined value of my choice. In the TIMELINE, SELECT or LASSO all the dialog audio clips that need to be normalized. RIGHT CLICK and choose GAIN from the pop-up menu. I use NORMALIZE ALL PEAKS to set the db level to “-6”. This option will adjust the gain of each individual clip by the necessary amount so that the loudest peak will hit -6db. This automated process quickly alters all the volume settings and gets them living in the same ballpark. I can further fine-tune the levels of individual clips as needed but this batch applied effect provides an even dialog volume starting point for any scene I am cutting. The NORMALIZE ALL PEAKS TO gain option can also be applied to a FOLDER/BIN in the PROJECT PANEL to quickly prep audio levels before I even cut a clip into my TIMELINE. The caveat when using this automated technique is the better your captured audio, the better the results will be. EQUALIZATION (EQ’ing) is the art of manipulating frequencies to get a more pleasing and creative sound during post-production. Even in my temp mix, I will try to create a sonic environment that best represents and suits the story. There are three basic methods of EQ’ing audio: Filter, Cut and Boost. Here’s how I do it. I can accomplish the most of my adjustments with only two common effects that every NLE or audio program comes with. First, a GRAPHIC EQUALIZER (30-bands) and second, a PARAMETRIC EQ. I use them separately or in unison to emphasize or remove certain frequencies and augment the audio. Here are some of my personal recipes that address many of the most common audio problems that I deal with during post-production. I hope they help make your audio sound cleaner, fuller and more pleasing. Refer to the frequency chart above to see the ranges (Hz and kHz) of where these sounds live in the audio spectrum. Tip #3 – Cut the top and bottom The dialog that comes into my edit bay and is recorded on lavaliers, shotguns, hyper-cardioids, ribbon mics or even iPhones. They all sound different, so here’s one way to bring them all into a more unified sound zone. Inside the EFFECTS panel, find and apply a GRAPHIC EQUALIZER (30 Bands) to the audio clip. I roll off all frequencies below 100Hz to remove rumbles, hums, wind and other low-end noises. Drop the faders on all frequencies below 100Hz within the GRAPHIC EQUALIZER interface. At the top end, I roll off everything above 10kHz to remove sizzles, squeaks and high-pitched noise. Drop the faders on all frequencies above 10kHz in the GRAPHIC EQUALIZER interface. At both ends of the frequency spectrum, I slope the cut-off with the other frequencies so it creates a “shelf” which quickly eats through the frequencies I do not want to hear in my final mix. This tip immediately gives me a full, sonic spectrum with extreme frequencies removed as a solid starting point. Tip #4 – Distant and dull dialog Often, the microphone is too far from an actor and you will hear boomy, reverby dialog. Ideally, the microphone should be within a couple of feet of the actor. Any further and the dialog will have less power and will sound flat and dull. This is one of the hardest things to work with and often ADR (looping) is the only way to remedy the problem. My solution is this 2-step recipe to try and save the dialog. In the EFFECTS PANEL, select the PARAMETRIC EQ and apply it to the clip. The Parametric EQ is a sonic scalpel that can isolate and tweaks the sound with great precision. Set the first PARAMETRIC EQ to 300Hz with -4db and a Q=2. This can remove some of the “room boominess” and the “boxy” sound. Set the second PARAMETRIC EQ at 4kHz with +6db and a Q=.25. This will brighten up the dialog and help it cut through the mix. Even a slight improvement will make the entire mix sound better. Also, I like to EQ dialog while the music, background sound and room tone are playing. If you solo the dialog and EQ in a vacuum, you won’t hear how it’s interacting with the environment and the mix. Tip #5 – Make a hole in the music Once music or score is added to the edit, the dialog can get lost in the mix as they both occupy the same sonic space. The first step might be to boost the volume of the dialog to make it louder. This is a recipe for disaster as my mix will eventually get out of control and enter an escalating volume war. Before you boost something…consider cutting something else first. This maxim applies to all EQ philosophies; it is the push and pull of audio mixing. Learn it and live it! So, instead of raising the volume of the dialog…I carve out a hole in the frequencies used by the music for the dialog to live in. APPLY the PARAMETRIC EQ at 1250 Hz with -18db and Q=4. This cuts the music frequencies that are in the heart of the human voice range. Notching out that sonic space is a much more elegant solution than boosting the dialog volume and creating a sound mix that fights itself for clarity. Chapter 6 Sound Affects Tip #6 – Secret sauce audio recipes Tip #8 - Frankenwords and sub-frame audio editing Often, dialog will have one glaring problem that needs addressing. Most software has presets for noise reduction or hum removal but not for specific fixes. Add the fact that male and female voices cover different ranges and you can see why no preset can solve it. Here are several specific tweaks that can help you conquer these issues: A big part of audio editing on a feature film is DIALOG EDITING. This encompasses picking the best line readings, mixing words from different takes and removing portions of words or extraneous noises from the dialog track. Add Male Power: Parametric EQ at 160Hz with +2db and Q=1 Female Sibilance Reduction: EQ reduction at 6kHz to 8kHz Nasally Dialog: EQ reduction between 2kHz to 4kHz by several DB Male Sibilance Reduction: EQ reduction at 4kHz to 6kHz Add Female Thickness: EQ boost at 150hz by several DB General Dialog Boost: EQ boost at 2.5kHz by 3db Add Vocal Presence: EQ boost at 5kHz by several DB Tip #7 - Crossfade every clip The sound of a pop or click in the audio mix is like a dagger in the heart to me. These annoying little sounds break the cinematic spell and take me out of the film every time I hear one. These noises usually occur at the head or tail of a clip as the PLAYHEAD passes across the edit point. There can be remnants of other audio on the edit point or just general background noise that causes this. To prevent this from happening and ensuring a seamless audio listening experience from the very first cut of the film, I always add a 2- or 4-FRAME CROSSFADE to every clip in my TIMELINE. I add the crossfade to both the head and tail of every clip even when there is no gap between clips. I strive for 100% artifact-free audio playback and I have a shortcut to automate this process. At any point during editorial, SELECT or LASSO any range of AUDIO clips and then use my APPLY AUDIO TRANSITION keyboard shortcut. This one push of the button will add my default (4 frames) audio transition to every audio edit point within my selection. This ensures I will not have clicks or pops during playback and my sound mix will flow with no distractions. Lastly, I prefer to completely build out an entire SCENE before I apply the AUDIO TRANSITIONS via my keyboard shortcut. Once I have all my audio clips and tracks positioned in my TIMELINE, I then globally add the transitions in the most expedient way with the fewest clicks needed. Now, I am confident in presenting and playing back my sound mix with no clicks or pops. Chapter 6 Sound Affects One of the most challenging tasks is creating FRANKENWORDS. Named after Mary Shelley’s mythical monster, Frankenwords are built using syllables from many different takes and words of dialog to create a new word or line reading from scratch. Often times an actor will have misspoken or inflected a word and I need a better version of that word. If the actor is not available (or budget does not allow) for ADR or looping, I will craft the words from existing audio. Normally, audio is playing back at 24fps (23.976), the same frame rate as the picture. When tackling audio editing, sometimes 24fps does not give ample access to the components and syllables of words as they are less than one frame in length. In the past, I was limited by the one frame limit and would have to keyframe volume adjustments and use crossfades to blend pieces of words. Not optimal. Premiere Pro has sub-frame audio editing that gives me access to 48,000 samples per frame of all audio. To switch from FRAME to SUB-FRAME edit mode, CLICK on the MENU next to the open SEQUENCE tab and choose: SHOW AUDIO TIME UNITS. This switches into SUB-FRAME mode and lets you edit the 48,000 samples per frame. With this precise control, I can chop up syllables and reform them into new words with the knowledge I can finesse them as specifically as is needed. I can chop off the letter “S” from the end of a word to change the vocal delivery from plural to singular. By being able to zoom in and analyze the phonetics of sounds, I can cleanly select in between the letters and syllables to pull the perfect audio chunk. Using this same approach, I borrow words from other takes and can accurately replace them with the highest precision for both on camera and off-screen dialog. When I switch back to FRAME mode, the edits and SUB-FRAME pieces I have created will remain locked in their last position and will often be less than a frame in duration and not accessible in FRAME MODE. Any further audio editing to access all 48,000 samples must be done in SUB-FRAME mode. I borrow words from other takes and can accurately replace them with the highest precision for both on camera and off-screen dialog. Tip #9 - Automation mode for real-time mixing AUDIO MIXING is the manual process of balancing the volume, tone, spatial location and effects of audio clips in your TIMELINE. This can be a very tedious and timeconsuming task but is hyper-critical to the success of the project. Creating a sumptuous and immersive audio mix allows the audience to enter the world of the film on a whole other level. In the past, I would add KEYFRAMES by hand on every clip to adjust the volume of the clips I am working with. This takes a long time and does not provide real-time audio feedback as I am working. I have to create the keyframes with the video paused then playback the sequence to hear my work. If I am mixing a song or dialog pass, this could take hours. This is not optimal. I have found a better way. The AUDIO CLIP MIXER is the audio mixer panel that allows you to write keyframes in real-time, during playback, while mixing an audio track with the built-in faders. This panel is perfect for mixing as it is clip-based and the fader for each track controls the clip under the PLAYHEAD during playback. This means the fader is active for each clip on one track directly under the PLAYHEAD. If I have a song on track 3, the track 3 fader will affect the volume for the entire song. If I have ten dialog clips on track 1, the fader will have access to each of the ten clips at the moment they are playing back. Automated keyframe mixing is interactive, intuitive and saves me hours of time by not having to set individual keyframes. To initiate the WRITE KEYFRAMES mode of the AUDIO CLIP MIXER, CLICK on the Write Keyframes button at the top right of the track you would like to automate the volume on. The diamond icon will turn BLUE when activated and will begin writing keyframes as soon as I hit PLAY on the TIMELINE. There are two settings that I always adjust before I start the automated keyframe mixing process. In the PREFERENCES > AUDIO menu, turn on LINEAR KEYFRAME THINNING and set MINIMUM TIME INTERVAL THINNING to 500 milliseconds. By default, the automated keyframe process writes dozens of keyframes every second. This is far too many to interact with, so I set it to 500 milliseconds which creates two keyframes per second. This makes it a much more manageable and enjoyable task. Chapter 6 Sound Affects It is important to note that once I press PLAY on the TIMELINE and begin moving any fader, the keyframes will not appear until after I hit STOP or PAUSE on the TIMELINE. To gauge the volume levels, I always have my AUDIO METERS active and close to the TIMELINE for easy monitoring. Once the keyframes appear you can make further adjustments in the TIMELINE or in the EFFECT CONTROLS tab of the SOURCE MONITOR. I tweak individual keyframes directly in the TIMELINE by hovering my CURSOR over a keyframe to gain access to it. I can then DRAG it up, down, left or right. If I need to move more than one keyframe, I enter the EFFECT CONTROLS tab and CLICK on the “>” icon next to the “fx VOLUME” parameter. This spins open to show me all the keyframes as DIAMONDS in the panel. I can now move individual keyframes or LASSO a selection of keyframes and slide them left or right in the panel. Any changes in the EFFECT CONTROLS tab will be instantly reflected in the TIMELINE below. Using the Automated Keyframe Writing option of the CLIP MIXER, I can “Ride the Faders” in real-time and hear the audio levels change as I dial in the perfect mix. For dialog and music, this is an indispensable tool that I’ve fully embraced. Essential Sound panel Final tip – Your ears are the ultimate guide This is a new addition to Premiere Pro that gives me greater control and more options to work on my audio all within one panel. By SELECTING clips in my TIMELINE, I can then assign them a TAG (dialog, music, SFX, ambiance) in this panel and gain access to the built-in effects related to the specific tags. The bottom line? If it sounds good…it is good. If you try my recipes and they work, that’s great! If they magically don’t solve your issue remember this: they are a great jumping off point into the audio jungle where so many factors (mics, distance, room type, background noise, preamp, recorder) are thrown into the mix. Your ears will tell you if it’s working even if the numbers don’t match up. Every sound guru I’ve worked with had their own secret sauce recipes but they all fall into very similar slivers of audio frequencies. With the ESSENTIAL SOUND PANEL open, SELECT one or more audio clips in the TIMELINE and pick the category in the panel that matches its attribute. For example, I will SELECT all the dialog in a scene that lives on track 1 and 2. Once all the clips are selected, I choose DIALOG in the ESSENTIAL SOUND PANEL. Although I prefer to do my own audio work manually with native effects, the ESSENTIAL SOUND panel has a couple of presets that I use all the time. Since clean and legible dialog is so important to the viewing experience, I use the CLEAN UP NOISY DIALOG preset every time there is nonoptimal dialog. This preset does most of its work inside the REPAIR tab. Click on REPAIR to reveal the: Reduce Noise, Reduce Rumble, Dehum, DeEss and Reduce Reverb options. If the default setting for any preset is not solving the problem, I make further adjustments in the panel. All effects are real-time with no need for rendering so I can playback my selection and tweak on the fly. All the effects within the ESSENTIAL SOUND panel are mirrored in the EFFECT CONTROLS tab of the SOURCE MONITOR. Furthermore, each individual effect has built-in presets to help me tackle common sonic issues. If you are looking for a specific solution to an audio problem, I always look through the presets to see if a solution exists. Lastly, most of my temp audio mix will probably be replaced by the Sound Mixer. My job at this stage is to give the best representation of the final product and convey as much of the story through audio. Fortunately, all my audio levels and effects can be passed across, so the Sound Mixer has a great starting point and a solid reference. It’s the editor’s job to have the best (temp) sound mix possible for all the previews and test screenings during post-production. Make sure to create the most comprehensive and seamless mix possible at every stage of the journey. Chapter 6 Sound Affects It takes years of working with audio to sense it and feel it, aside from just hearing it. Trust your ears. That said, make sure you don’t fatigue them by mixing for 12 straight hours while you constantly change the master volume on your speakers. This fluctuation keeps rebooting your baseline of volume and aural sensitivity. It’s better to walk away if you get frustrated or tired and return to it afresh. A well-balanced mix with a crisp and clean dialog that blends seamlessly with the music is a beautiful thing to behold. It takes as much work and time as the picture edit and the results can elevate your project to a soaring level of excellence and enjoyment. Take pride in your audio and make your mix sing! Chapter #6 assets VashiVisuals Audio 12 Pack Preset for Premiere Pro Download Here › VashiVisuals Premiere Pro Audio Template Project Download Here › TALES FROM THE TRENCHES #7 224 shots from “6 Below” I COLOR CORRECTED ALL 1,200 SHOTS IN “6 BELOW” DURING EDITORIAL FOR THE TEST SCREENINGS. I took great pride in making sure every shot looked great. Once we locked the edit, all my color work was thrown out and the colorist started from scratch to create the final color grade that was released in theaters and on Blu-ray. That said, every screening of “6 Below” looked fantastic with my own grading all done in Premiere Pro. I made sure the film looked like the final product at every step. The audience should be focused on getting lost in the story. Color correction and the color grade help them to do that. Chapter 7 WORKING WITH COLOR Color correction is another critical step in the filmmaking process. In the past this step was addressed after the editorial was completed. That is most definitely not the case anymore. It now falls on the editor to handle some of the color related tasks at the same as they are telling the story because color is a component of the story. At the minimal end, an editor will color correct shots within a scene so they all seem to live in the same world. If a shot stands out by being to under-exposed, overexposed or with different color temperature, the edit will “bump” when that shot comes on screen. The last thing an editor wants, for any reason, is to take the viewer, director or producer out of the moment as they watch a scene. These shots must be addressed and we have the tools within our editing software to tackle this situation. At the other end of the spectrum, an editor can be called upon to either color grade a scene or make creative visual decisions that alter the original footage. This can be as simple as adding a color tint to a scene, applying a day-for-night effect to footage or applying a LUT (Look-up Table) provided by the cinematographer to approximate a certain visual look. These are all now normal requests of an editor during post-production and you need to be prepared and knowledgeable to accomplish these tasks. The Lumetri Color tools in Premiere Pro include sliders, color wheels and curve adjustments In the post-production world, jobs are frequently merged and color correction is more and more often falling into the hands of the editor. The smaller the budget and tighter the deadline the more this becomes true. Even though this color work is temporary (and will be replaced by a professional color grade) it will be viewed during screenings by the whole team and by civilians in test screenings. I would love to pass on several tips and tricks I have learned over the years of color grading: 10 feature films, short films, ads, music videos and documentaries. I can tackle all these color needs with the Lumetri Color tools in Premiere Pro, even when working with 6K RED R3D files. That said…the tips I would like to share with you are applicable to all color correction software. To get on the same page, let’s quickly go over some terminology that clarifies what is what in the world of digital color manipulation. COLOR CORRECTION is the process where every clip is manually tweaked to get a proper exposure and balance of light and color. Each clip is adjusted to match the color temperature to a predefined choice for each shot or scene. This delicate and mechanical process is essential and in its own way, an art form. The goal is to create a unified scene or sequence where all the shots match each other. The use of SCOPES (Waveform, Vectorscope, Parade) is critical to this step and luckily most NLE’s and color grading software have them built-in. Without scopes, you are literally flying blind and trusting solely your eyes, which must adjust constantly to room light ambiance, fatigue, funky monitors and other factors. Trust the SCOPES and let them guide you into accurate and creative color decision making. Use the Lumetri scopes in Premiere Pro to guide your color adjustments COLOR GRADING is the creative process where decisions are made to further enhance or establish a visual tone or look to the project as a whole. This creative and technical process includes: introducing new color themes, re-lighting within a frame, adding vignettes, films stock emulations, color gradients and a slew of other choices. Being that this is purely subjective, there is no wrong or right…only what the DP, director and colorist feel is appropriate for the story. It can be subtle and invisible or over-the-top and uber-stylized. Therein lies the challenge—the challenge of choices. To understand and wrap our brain around how to address the images, we need to first familiarize ourselves with the naming conventions of luminosity and light. These are the 3 interchangeable assignments used to describe what portion of the image you will be affecting. All software uses one of the 3 naming conventions above, but in essence they are all the same. With these 3 parameters, you can mold the footage and create the visual look and style that is required. LIFT / GAMMA / GAIN SHADOWS / MIDTONES / HIGHLIGHTS BLACKS / MIDS / WHITES The Lumetri Color panel #1 – Shoot with a flat or log camera profile The LUMETRI panel within Premiere Pro gives you access to 6 tabs of comprehensive tools to cover every color correction situation you will have to deal with. The BASIC CORRECTION tab includes almost every function I need to adjust shots and make sure my entire scene or sequence has visual continuity. If you have ever used Photoshop or Lightroom, then you will see the same sliders and options used to manipulate a still image are embedded in the Lumetri Color panel. Capturing footage with the most latitude, information and quality is the goal on set. Cameras often have stock profiles that look contrasty and rich in the camera but when analyzed on a monitor you will have crushed blacks and blown-out highlights. That is information beyond the range of the camera, gone forever and you cannot get it back in the post. On “6 Below”, we shot with RED 6K DRAGON cameras in REDLogFilm format to capture the most dynamic range and have the most options in post. Every professional camera has some option of capturing in LOG or an equivalent to allow for maximum dynamic range upon capture. The CREATIVE tab contains dozens of looks (presets) that you can apply to your footage including film emulations (Kodak, Fuji), stylized looks from popular films and the option to add LUTs created for your film by the DP to best represent the final image. Now that you are familiar with the tools needed to color correct footage, here are 7 of my most important tactics to apply that will help you be as effective as possible in creating imagery that best serves the story. Chapter 7 Color Me Good #2 – Trust the Waveform / Vectorscope / Parade Scopes TIP: Add the LUMETRI COLOR PANEL tab to your SOURCE monitor tab so it always easy to access when you need to make adjustments. CLICK on the WINDOW menu at the top of Premiere Pro and choose the LUMETRI COLOR option. If it has not yet been activated, it will add it as a tab to the SOURCE MONITOR. CLICK on the LUMETRI COLOR tab and OPEN the Basic Correction option to reveal the core functionality. The added benefit of this set-up is that when you SINGLE CLICK on any clip in the TIMELINE, the LUMETRI COLOR tab will become active in the SOURCE monitor. This allows you to instantly interact and adjust any clip in the TIMELINE and quickly make your adjustments. In Premiere Pro, I always have the LUMETRI SCOPES panel open when I am color correcting or color grading. These scopes give me accurate representations of the footage that my eyes are not able to see. By RIGHT-CLICKING anywhere inside the LUMETRI SCOPES panel, I can select the 3 scopes I need to help me address color and luminosity accurately. The WAVEFORM scope shows the luminance/brightness of an image. RIGHT-CLICK and choose WAVEFORM TYPE / LUMA. The scope will now visually represent the brightness of your footage at the PLAYHEAD. On the left side of the scope is a range of numbers from 0 to 100 units of IRE. 0 is PURE BLACK and 100 is PURE WHITE. The white area in the scope corresponds to the luminosity of your footage and should always remain between 0-100 at all times to maintain maximum fidelity of the image. #4 – White balance your shot The VECTORSCOPE is a circular scope that displays the hue and saturation of the image. The more saturation your image has, the further the white markings will extend out from the middle of the circle. RIGHT-CLICK and choose Vectorscope YUV to reveal color boxes that show the maximum amount of saturation you can apply before surpassing the broadcast standard limits. The six color boxes are Yellow, Red, Magenta, Blue, Cyan and Green. The white markings always point towards the major color influences of your image. The more saturated an image, the larger the white representation will grow and point towards the coinciding color square. A black and white image will be represented by a small white dot in the middle of the circle as it has no hue or saturation. Hopefully, all raw footage was filmed with the camera team keeping the consistent white balance for every shot. If there are any discrepancies in the white balance during the shooting day then adjustments need to be applied in post. The goal is to make sure no one shot stands out and distracts the viewer while watching your edit. There are two quick ways to white balance a shot. First, in the LUMETRI COLOR panel, CLICK on the eyedropper next to the WB Selector option then CLICK on a portion of the image in the PROGRAM monitor that should be pure white. This will visibly change the parameters in the LUMETRI COLOR panel and in the PROGRAM monitor to reflect the new white balance. If the result doesn’t match a baseline shot that you are trying to match, repeat the process on another area of the image to attain a better result. The PARADE (RGB) scope shows the intensity levels of the three colored channels: Red, Green and Blue. Just like the WAVEFORM scope, the value of each channel is measured 0-100 from bottom to top. A perfectly white balanced image (the goal of color correcting) is achieved when all 3 channels share the identical shape and limits on the scope. This scope makes it easy to see which color channel is dominant in an image and therefore which channel to correct to make a balanced image. Second, you can use the TEMPERATURE slider to subtly adjust the color balance by eye to your liking. Usually, it does not take too much of an adjustment to get the white balance close enough to match the other shots. The goal is to isolate all “straggler” shots that really stand out and get their white balance back into an acceptable state so those shots don’t look out of place in your edit. Once you embrace and understand the SCOPES as a guide to help decipher the image, you will have the information you need to confidently judge the footage and apply your color correction adjustments. #3 – Order of operations To maintain image quality and to preserve the footage fidelity as much as possible, it’s important to do things in the proper order. Just as you wouldn’t ice a cake before you bake it: choosing when you apply a correction or effect is critical. I have always achieved the best results following the advice I learned from post-production guru Stu Maschwitz. Applying color correction and effects onto your footage in this order will help you maintain maximum quality through your pipeline. Not all steps are needed for every shot, but the optimal order of operations is: 1. Remove artifacts and denoise your footage 2. Balance the exposure, 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. Add a film stock or LUT 8. Add film grain 9. Resize / sharpen / soften footage Chapter 7 Color Me Good TIP: The next 4 points rely on the LUMETRI COLOR panel used in concert with the LUMETRI SCOPES panel. Make sure the LUMETRI COLOR panel is tabbed to the SOURCE monitor and the LUMETRI SCOPES panel is tabbed to the PROJECT PANEL so you can see both of them at the same time. OPEN the BASIC CORRECTION tab within the LUMETRI COLOR panel and then SINGLE CLICK the first clip in the TIMELINE to begin color correcting your footage. #5 – Adjust your lift / shadows / blacks first By adjusting your BLACKS first, you get a baseline started to balance your image. I like working from the bottom up and getting my BLACKS just barely above the 0 IRE on the WAVEFORM scope. Use the BLACKS slider in the LUMETRI COLOR panel to lower the graph until it is close to but not lower than 0 IRE. Next, I use the WHITES slider in the LUMETRI COLOR panel to raise the WAVEFORM graph and get some contrast into the shot. Raise the whites but do not exceed 100 IRE on the scope. Even white clouds in a sunny sky are not 100 IRE. In a dark night time scene, the whites might only reach 60-70 IRE if there are no light sources in the shot. Finally, I adjust the MIDS as needed. To do this you open the COLOR WHEELS & MATCH tab within the LUMETRI COLOR panel as the BASIC CORRECTION tab does not have a dedicated MIDS slider. In the COLOR WHEELS & MATCH tab, you will find the MIDTONES slider that moves vertically up or down. Raise the slider to make the MIDS brighter or lower the slider to darken the MIDS. You will notice that moving the BLACKS or WHITES up or down will affect the entire WAVEFORM so there is a give and take dance as you work back and forth. MIDS do not affect the BLACKS or WHITES too much and that is why you should work with them last. Lastly, if you do raise MIDS, you will lose overall saturation to the image, so compensate by bumping up the SATURATION to keep the colors popping. Always refer to the WAVEFORM scope as you make any adjustment to ensure you keep all values between 0 - 100 IRE. #6 – Mids are where the faces live Color Grading MIDS is where the skin tones live and you can really make a face pop by raising the MIDS after you have a wellbalanced image. If an image has a natural and healthylooking skin tone that matches from shot to shot, the chance of taking the viewer out of the moment will be reduced. Remember that one bad shot can ruin the illusion that we are trying so hard to maintain. Only when the color correction is done can the color grade begin. Every shot must be balanced and tweaked so they form the stable bedrock on which to build the color grade. This immense task does not often fall upon the editor...but if it does, I have tips to help you apply a creative look or style to the entire project. Sometimes it feels easy to raise the EXPOSURE slider in Premiere to brighten a face or scene…but that raises all the levels in unison and will ultimately not be as effective as separately adjusting the 3 zones. A good IRE for a properly exposed face is 50-65 IRE on the WAVEFORM. Look for the area on the WAVEFORM that corresponds to the same location of a face in your image. Read the numbers on the left side of the scope and move the MIDTONES slider up or down and have it fall between the 50-65 IRE range. If you raise the MIDS too much, you will introduce digital noise into the image, so use judicially. On “6 Below”, I color-corrected every shot and then applied color graded “looks” to numerous scenes. Visually, these scenes had to stand out in the narrative as these scenes were flashbacks or night time scenes shot during the day. This is an extremely common task for editors to tackle so that the director, producers and viewers during test screens are aware that the story has many facets and even time frames. Even though these temporary color grades will not survive as the final color grade, your job is to imply and convey visuals as close to the final imagery as possible. There are two common methods to apply a color grade onto footage so that it stands out and helps carry the viewers along the narrative journey of the story. #7 – Look for the FLESH LINE on the VECTORSCOPE The VECTORSCOPE has a diagonal line that runs from the center of the scope to the top left area (about 11 o’clock on a watch face). This is called the FLESH LINE and represents the area of the scope that properly white balanced human skin should fall upon. If the white clump of pixels on the scope that represent skin tone do not align with the FLESH LINE then a subtle adjustment should be applied to correct this. An interesting note to remember is that the FLESH LINE is accurate for all different skin tones regardless of race. We all share the same skin pigment that registers as a numeric FLESH color value on the SCOPES. Any project that you work on will always benefit from proper white balancing and accurate skin tones to create a natural look that you then build onto with color grading. First, the Director of Photography will often create a LUT with the colorist and pass that over to the postproduction team. A LUT (Lookup Table) is based on a mathematical formula that translates the footage to a desired visual result. It is applied to the raw footage and creates the final displayed image. This LUT can be a film print emulation or a specific color grade created from scratch. There are two methods of tackling this challenge. First, by adjusting the TEMPERATURE slider in the BASIC CORRECTIONS tab, you can shift the pixels on the VECTORSCOPE to match it up with the FLESH LINE. If you do not have a proper white balance established at this point, you will affect the whole image with this TEMPERATURE shift and get adverse results. The second, more precise method brings us back to the COLOR WHEELS & MATCH tab. With the MIDTONES color wheel, you can introduce the proper hues back into a face/ skin tone that needs tweaking. CLICK in the middle of the MIDTONES wheel and DRAG the PLUS SIGN indicator in the direction of the color you need more of in the flesh tones. This method will generally isolate the color values of flesh tones in the MIDTONES range without affecting the WHITES or BLACKS. Move the pixels using the PLUS SIGN indicator in the VECTORSCOPE that represents the skin tones until it lines up with FLESH LINE. Chapter 7 Color Me Good Second, a PRESET can be used within the editing software and applied to the footage. This PRESET is an approximation of the final look and needs only to convey the intent of the final color grade. The PRESET will help guide the filmmakers and audience during previews and test screenings. It is frequently created by the editor, as I did on “6 Below”. TIP: The easiest way to apply a LUT or color PRESET is to create an ADJUSTMENT layer in the TIMELINE and place it on a track above all your other video tracks. An ADJUSTMENT layer will hold any effect or LUT and overlay it onto all video tracks beneath it. To create an ADJUSTMENT layer, CLICK on the PROJECT panel (to make it active) and on the top menu choose FILE / NEW / ADJUSTMENT LAYER. Now DRAG the ADJUSTMENT LAYER from your PROJECT panel into your TIMELINE and insert it on any video track above all your assets. Lastly, DRAG the edge of the ADJUSTMENT layer so it covers all the assets in the TIMELINE. Both methods of adding LUTs or color PRESETS are accomplished inside the LUMETRI COLOR panel of Premiere Pro. Make sure to first SELECT the ADJUSTMENT layer in the TIMELINE onto which we will add the LUT or PRESET. CLICK on the BASIC CORRECTION tab where you will find the first option allows you to INPUT LUT. NAVIGATE to where your LUT lives, select it and it will be added to the ADJUSTMENT LAYER. To add one of the many PRESETS that are included with Premiere Pro, choose the CREATIVE tab and the first option available is LOOKS. There are close to 50 PRESETS that cover film emulations and stylized looks that can be added to the ADJUSTMENT layer. I used the ‘SL BLUE DAY4NIGHT’ look to color all the footage in “6 Below” that was shot during the daytime but needed to appear as if it was night-time. If you need a film emulation PRESET that duplicates the look of certain Kodak or Fuji print film, they are also located in the LOOKS category within the CREATIVE tab. The PRESETS available for the ADJUSTMENT LAYER Even when applying a LUT or PRESET to the ADJUSTMENT layer, we were able to play back our 6K footage in real-time thanks to the Precision workstation and the NVIDIA Quadro GPUs providing acceleration for Premiere ProNVIDIA. If you drop frames or experience stuttering playback, you can lower your PLAYBACK RESOLUTION in the PROGRAM monitor. This option is located at the bottom right of the panel. TIP: The ADJUSTMENT layer gives you an easy way to color grade all the footage in your timeline at one time. If you were to apply an effect to every single clip, you would have no global method to make adjustments to the entire TIMELINE. The hidden benefit of color grading this way is that you can lower the OPACITY of the ADJUSTMENT layer to reduce the intensity of the LUT or PRESET at any time. Sometimes 100% OPACITY is too much, so feel free to reduce OPACITY to suit your taste for the entire TIMELINE. Lowering the PLAYBACK RESOLUTION Chapter #7 assets JARLE’S PRESETS 4.0 are a free collection of 106 presets that can be imported into Premiere Pro. I’ve been using them for over 6 years and always import them at the start of any project. To change the OPACITY of any clip, DOUBLE-CLICK the clip in the TIMELINE to load it into the SOURCE monitor. Choose the EFFECT CONTROL tab to reveal the OPACITY option. You can DRAG the blue 100.0% value left or right to change it or CLICK on the value and TYPE in any value you want. Color correction and color grading are both integral parts of the post-production process. Even if you are unfamiliar to both tasks, you should realize the editorial power of being able to adjust any “bad” shots so the viewer will not be taken out of the story. An editor must use every trick in his or her bag to make the viewing seamless, smooth and enjoyable. Chapter 7 Color Me Good Learn More and Download Them Here › JUAN MELARA is a colorist that has created several free KODAK and FUJI LUTs that emulate certain film stocks. I have used them on countless projects and they are available Here › Adjustment of OPACITY TALES FROM THE TRENCHES #8 THERE WERE 205 VFX SHOTS IN THE FEATURE FILM, “6 BELOW”. Every one of them was critical to the story and had to look 100% real or the illusion would be ruined and the spell broken. Never underestimate the power that an invisible VFX shot adds to the telling of your story to an audience. Chapter 8 MAKING GREAT STORIES GREATER The best VFX shots are invisible. They should blend in and feel natural. The goal of VFX is to enhance, amplify or clarify an element of a shot so it can help tell the film’s story. The definition of VFX should not be limited to pulling keys for green screens, creating CGI robots or adding muzzle flashes. There are dozens of tiny and practical tweaks you can apply in Premiere Pro to make a shot play better. In the post-production world, more and more tasks fall upon the editor during editorial. The combination of better hardware and software capabilities allow the editor to proactively address a lot of the VFX demanded by a project. If an editor is knowledgeable and willing to learn new techniques, the edit will be more impactful and resonate more during screenings. Even if these effects are not the final version, they will get the film closer to the finish line and give the viewer a more rewarding experience. In “6 Below”, almost every single shot benefited from some sort of manipulation. In this chapter, I will open my bag of tricks and share some of the most commonly used effects and techniques I use to coax more emotion from a single shot or enhance the dramatic tension of a sequence. This helps the editor contribute to the final narrative of the film via the stock visual effects found within Premiere Pro. There are hundreds of video effects available, but I want to focus on the most common ones I used in "6 Below." All of them helped me amplify a story point while remaining invisible to the viewer. Here are the techniques that I will cover in this chapter: 1 2 3 4 5 6 7 Resizing and repositioning shots Stabilizing shots Digital zooms (push ins and pull outs) Split screens Speed changes Green screen removal (chroma keys) Custom presets (available at the end of the chapter) The Effects panel in Premiere Pro The access point to manipulate any effect is found within the EFFECTS panel. I always keep this docked next to the SOURCE MONITOR panel so I can easily pop it open and make my adjustments. The EFFECTS panel by default holds the MOTION and OPACITY parameters for the clip. Any further effect you add to a clip will also appear here. It also holds the AUDIO EFFECTS, covered in Chapter 6. To access the EFFECTS panel for a clip, DOUBLE CLICK a clip in the TIMELINE to load it into the SOURCE MONITOR panel. Then CLICK the EFFECT CONTROLS tab to activate it. To see all the parameters for MOTION or OPACITY, CLICK the “>” icon next to either, to expand the categories and reveal all the options within. If you are familiar with Photoshop or After Effects then you will see identical controls for the options located within Premiere Pro. Always keep the EFFECTS panel docked next to the SOURCE MONITOR panel so you can easily pop it open and make my adjustments. Chapter 8 Making Great Stories Greater TIP: If the EFFECT CONTROLS panel is active, you can SINGLE CLICK on any other clip in the timeline and the EFFECT CONTROLS panel will instantly update to show you the parameters for that clip. Also, in the SEQUENCE menu at the top of Premiere Pro, if you have the SELECTION FOLLOWS PLAYHEAD turned on, the EFFECTS CONTROLS panel will update to reflect wherever your PLAYHEAD is positioned in the TIMELINE. No extra clicks needed. Both these methods will save you time as you won’t have to load a clip into the SOURCE monitor every time to access the EFFECT CONTROLS panel. The adjustable parameters are colored BLUE to show that the editor can interact with them. There are four methods to change the BLUE parameter values. All four methods will instantly display the changes on the PROGRAM monitor and on an external monitor in real-time. First, I can CLICK and DRAG the numerical value LEFT or RIGHT to change a value. DRAG left to decrease the value or right to increase the value. Second, I can DOUBLE CLICK on any BLUE value and type in the number I want. This is useful if I know the exact number of pixels or degrees I would like to apply. Third, I can DOUBLE CLICK on any BLUE value to activate it, then use the UP or DOWN arrow keys to INCREASE or DECREASE the amount by one unit per click. This is extremely helpful for micro adjustments and offers the most precise control. Lastly, if I SINGLE CLICK on the MOTION header in the EFFECT CONTROLS panel, this engages the interactive controls within the PROGRAM monitor. I know it is active when a BLUE bounding box lights up and I see crosshairs in the middle of the frame. I can now CLICK and DRAG with my mouse, directly within the PROGRAM monitor to adjust: position, scale, rotation or anchor point. CLICK on the gray area outside the frame or on any other panel to exit the active adjustment mode. TIP: To reset ALL values back to the original settings, click the CURVED ARROW icon to the right of the MOTION header within the EFFECT CONTROLS panel. If I need to reset an individual parameter, CLICK the CURVED ARROW icon to the right of that specific parameter header. Resizing and repositioning shots Stabilizing shots It is very common in digital filmmaking to capture raw footage at a higher resolution than the final deliverable size. Productions will often shoot at 4K (4096 x 2160 pixels) and create an HD (1920 x 1080 pixels) master file. The 4K footage will be edited within an HD sequence timeline to gain access to the additional pixels. This oversampling allows me to resize or reposition shots and maintain the highest quality as I have more pixels than needed to fill the frame. The power of a well composed shot can be ruined if there is a bump to the camera. A panning shot or dolly shot can be ruined if it is not smooth and fluid. The smallest wobble can distract the audience and take them out of the moment. Until digital VFX became available and easier to use (on any budget), very few films had every single shot rock solid and every camera movement glass-like. Even a camera on a tripod can have a wobble to the image when using a telephoto lens. Using VFX to stabilize shots adds a professional look and a higher production value to any film. We used the WARP STABILIZER effect to address every shot that was not stable or smooth enough for our liking. • 6K has 56x more pixels than Standard Definition. • 6K has 9.3x more pixels than HD (1080). • 6K has 8.8x more pixels than 2K. • 6K has 2.2x more pixels than 4K. On “6 Below”, we captured 6K (6144 x 2592 pixels) footage and edited within a 4K (4096 x 2160 pixels) sequence with an Ultra Panavision 2.76: 1 anamorphic aspect ratio for our theatrical final deliverables. This gave us 55% more pixels to work with—for resizing and repositioning—without losing any quality. I could scale from the default 100% up to 150% and retain a full pixel-for-pixel image to create the final deliverable. This allowed for an immense amount of creative freedom in deciding the final image framing for every shot. By using the SET TO FRAME SIZE options in the MEDIA preferences (covered in Chapter 2) when we set up the project, I set Premiere Pro to automatically fit the 6K footage into our 4K sequences. I then used the MOTION parameters in the EFFECT CONTROLS panel to adjust the scale and position of every shot in the film. It’s a very simple process and the result is perfect framing and matching shot sizes— even if they were slightly off during filming. The four methods to resize or reposition a shot I mentioned above make it very easy to creatively adjust and match every shot in the film with minimal effort. I always had the option of using the entire 6K image (as shot by the director and DP) shrunk down into the 4K sequence but also had the option of resizing or repositioning the shot in all four directions to craft a better compositional frame. The additional, full-resolution pixels are called PADDING and that’s what gave me the luxury to fine-tune each shot and to also stabilize footage with no loss of quality. Maintaining image fidelity during this stage may not sound like a visual effect, but it was a critical consideration before we began editorial and it helped us to deliver pristine and perfect compositions that were invisible to the audience. Chapter 8 Making Great Stories Greater The EFFECTS panel is where I go to access the WARP STABILIZER effect and all the other effects available within Premiere Pro. My custom project templates always keep the EFFECTS panel close to the TIMELINE so I can quickly dig in and grab the effect I need. TIP: I can apply effects not only to individual clips already in the SEQUENCE but also globally to the MASTER CLIP. It’s akin to applying effects to the original clip in the PROJECT panel. This means every time the MASTER CLIP is used in any SEQUENCE; it will carry with it the effects I added. The bonus is that I can change the parameters of the effects in the MASTER CLIP at any time and they will ripple downstream and pass on those changes into every instance of that clip. To apply MASTER CLIP EFFECTS, first load a shot into SOURCE monitor. As there are hundreds of effects available, use the SEARCH bar at the top of the EFFECTS panel to locate the desired effect. As soon as I start typing, the matching effects will be shown. I then DRAG and DROP the effect from the EFFECTS panel directly onto the clip that needs it. In the EFFECT CONTROLS tab, on the top left side, is the MASTER clip tab. CLICK on this tab to reveal an empty panel. DRAG any effect(s) you want to be applied globally and adjust the parameters as needed. Then switch back to the clip tab that controls the individual clip only. WARP STABILIZER automatically begins analyzing the footage in the background when applied and this data can then be further dialed into my desired result. The initial computations will take some time (depending on the length of the shot), but further tweaks use the initial data and update the results quickly. The smallest wobble can distract the audience and take them out of the moment. To smooth out a handheld shot, panning or dolly shot: I start with the default setting: SMOOTH MOTION with 50% Smoothness, Subspace warp method and Stabilize / Crop / Auto-scale. For 90% of shots, the default setting accomplishes my goal of smoothing out a handheld shot. In this mode, the AUTO-SCALE parameter will show a percentage the footage is being enlarged to remove the shake or wobble. If my footage is the same resolution as my TIMELINE settings, I try to keep the AUTO-SCALE to a maximum of 110%. With our 6K footage in a 4K TIMELINE, I could go up to 150% and not lose any resolution. If the AUTO-SCALE percentage is degrading my image, I lower the SMOOTHNESS parameter from 50% down to a value that retains resolution but still helps the shot feel better. It is a dance of push-and-pull to find an acceptable mix of settings. Trial and error are commonplace during this process. TIP: Many digital cameras have a rolling shutter that will cause strange, wavy artifacts within the frame when applying WARP STABILIZATION. This occurs because the camera sensor scans the image—line-by-line, from top to bottom—while capturing footage. This delay in capture is translated into the computations and causes warbling imagery when using the default SUBSPACE WARP method. I switch this to the POSITION, SCALE, ROTATION method to get a better result when using cameras with rolling shutters. There is one more important WARP STABILIZER adjustment that I had to address during the postproduction of “6 Below”. If the native frame size of any media does not match the frame size of the SEQUENCE you are editing in, you will have to NEST the clip before applying WARP STABILIZER. A warning will pop up to remind you if the frame size is different. To NEST a shot, RIGHT CLICK on the clip in the SEQUENCE and choose the NEST option from the menu. At this point, give the NEST the same name as the original clip to keep continuity within your project. You can now safely apply the WARP STABILIZER effect to the clip. This process will add the nested clip to your PROJECT panel. I would always put them in a BIN labeled NESTS to keep track of them. TIP: If I need to resize or reposition a shot and add the WARP STABILIZER effect, I have to apply the necessary parameter changes to the NESTED clip. If I make position, scale or rotation adjustments to a clip then add WARP STABILIZER, they will not pass through. NEST first, then apply parameter changes for optimal results. Chapter 8 Making Great Stories Greater Digital zooms Manipulating footage for creative effect is what editors do. And I have to create moments, scenes, sequences—even entire films with the footage provided. Building emotional moments that move your audience is critical. Sometimes, I will cheat to signal something important is happening. Adding a DIGITAL ZOOM to a shot triggers a subconscious feeling for the audience and makes it seem as if they are leaning into the shot. I also call this kind of effects shot a PUSH IN / PULL OUT / CREEP / DIGIZOOM. Digital zoom is an effect where I animate the size of the image using keyframes to enlarge the scale of the shot and if needed, the position of the shot. The digital zoom, when applied subtly, can mimic the visual look of a camera dollying in toward an actor, scenic detail or prop. This technique is often used on a close-up of a dramatic line of dialog, often during a monologue and especially if the camera was static and on a tripod. Digital zooms are something I’ve been doing for almost 20 years and it is very effective when used at the right time. Overuse it and the effect wears off quickly. I always save it for a critical story point (at best) and to help a performance feel more dramatic (at worst). Since we shot at 6K at edited at 4K, I had the 50% of extra pixels at my disposal so the quality of the image was never sacrificed. If my footage frame size is the same as the SEQUENCE, I limit any digital zooms to 10% bigger than the native frame size. To apply this effect, I have to add KEYFRAMES to a shot and this task is tackled within the EFFECT CONTROLS panel. First, I move the PLAYHEAD to the first frame of the shot in the SEQUENCE and I DOUBLE CLICK to load it into the SOURCE monitor. On the right half of the EFFECT CONTROLS panel, you will see the keyframe zone that shows the full range of the video clip from the IN to OUT point. To ensure the keyframes I am about to add are limited to this single clip, CLICK on the menu on the right side of the EFFECT CONTROLS tab and activate the PIN TO CLIP option at the bottom. To animate the MOTION components of a clip, I first have to toggle on the animation controls. The STOPWATCH icon to the left of each parameter is identical to the one in After Effects and this continuity helps me work in both programs. It has to be turned on to engage animation mode. CLICK the STOPWATCH icon next to SCALE to turn on ANIMATION mode. The icon will turn BLUE so I know it is active. When I turn it on, it automatically creates a KEYFRAME on the first frame of the clip and is visible on the right side of the panel. I then move the PLAYHEAD to the last frame of the clip. I can do this by DRAGGING the PLAYHEAD in the keyframe portion of the EFFECT CONTROLS panel or directly in the SEQUENCE as they are linked and mirror each other’s position. Digital zooms are something I’ve been doing for almost 20 years and it is very effective when used at the right time. With the PLAYHEAD now parked on the last frame of the clip, I can increase the SCALE parameter from the default 100 to the value of my choice. If I want a 20% larger image at the end of the clip, I type in or drag the SCALE parameter to 120. This causes the clip to grow in size over the duration of the shot from 100 at the first frame to 120 at the last frame of this clip. If I need to adjust the POSITION parameters of the clip to accommodate the new framing caused by the SCALE increase, I repeat the same action with the POSITION parameters and chose the best firstand last-frame of the clip. The DIGITAL ZOOM effect is something I use all the time. It helps me emphasize story points and guide the audience to pay attention to important moments. To help me save time, I created a PRESET PACK that is available at the end of this chapter. It’s called VASHIVISUALS DIGIZOOMS. It contains 10 SCALE presets that you can DRAG and DROP onto any shot so you don’t have to animate each shot by hand. They include both LINEAR and EASE interpolation presets so you choose the best method for each of your shots. The best part is that they are automatically applied to the first and last frame no matter the duration of the shot. My presets will adjust and match the length of any clip when you apply them. IMPORT them into your EFFECT panel by CLICKING on the menu and choosing IMPORT PRESETS. Enjoy! Split screens With the availability of more powerful workstations and GPUs, I was able to finalize many of the VFX shots directly within Premiere Pro. One of the most common techniques used in TV and feature films is SPLIT SCREENS. By using two different takes of the same set-up, I can re-time or replace the performances of actors as needed. In a two-shot, I can blend ‘take one’ of an actor with ‘take four’ of the other actor. I can take out pauses during dialog scenes or even replace a blue sky with clouds or a starry night from another shot. This is something I watched David Fincher’s editors do during editorial of GONE GIRL. In the past, I had to apply a CROP filter to a clip then add a FEATHER E DGES filter so both clips would blend smoothly. I use a much more elegant solution today. This ability to sculpt performances from different takes opens new doors of possibilities and here is the way I accomplish this effect. TIP: The default animation of any parameter is LINEAR in motion. This means it changes at a constant rate with an immediate start at the first frame and an immediate stop at the last frame. If I want a more organic motion that replicates a human being pushing a dolly, I can change the interpolation method of the animation. RIGHT CLICK on the first keyframe and chose EASE OUT to apply a gradual start to the animation. RIGHT CLICK on the last keyframe and chose EASE IN to let the animation land gently on the last frame of the clip. These adjustments give a naturalistic feel to the animations, so they look as if a person is actually moving the camera or lens to achieve the shot. The ultimate goal is to keep these effects invisible and not draw attention to them. The EASE IN / EASE OUT tip helps makes this possible. I choose two clips that will be stacked on top of each other and create a MASK on the upper clip. This crops the upper clip and reveals the footage on the lower clip: 1. Place Clip #1 on a track directly above Clip #2 in the SEQUENCE. Each time I add another Vertex Point, it will draw a line between back to the previous point. 2. DOUBLE CLICK the top clip and open the EFFECT CONTROLS panel. 6. I use at least 4 Vertex Points to create my mask. Finally, I touch the first Vertex Point to CLOSE the mask shape and make it active and adjustable. 3. In the PROGRAM monitor, open the SELECT ZOOM LEVEL pulldown in the bottom left of the panel. Choose a zoom level that is small enough so that you see the grey background behind the clip. 4. Under the OPACITY parameter in the EFFECT CONTROL panel, CLICK the FREE DRAW BEZIER icon. It looks like a pen tip. 5. Back in the PROGRAM monitor, I draw a MASK directly on Clip #1 to isolate the portion of the shot I want to use. CLICK on the shot to create a Vertex Point. 7. The area within the MASK of Clip #1 is visible and everything outside the MASK is cropped out. The video of Clip #2 on the lower track is now visible within the cropped area of Clip #1. 8. The MASK layer is added underneath the OPACITY parameter in the EFFECT CONTROLS tab of the SOURCE monitor. To see the MASK at any time in the PROGRAM monitor, so I can make adjustments, SINGLE CLICK this MASK layer and it will become active and editable. (Cont.) Chapter 8 Making Great Stories Greater 9. I can reposition the MASK in the PROGRAM monitor by hovering my cursor in the middle of the MASK until I see a HAND icon. DRAG the MASK shape or further adjust any Vertex Points by CLICKING and DRAGGING the individual points. ROTATE the MASK by hovering the cursor at any corner of the MASK until you see the curved DOUBLE ARROW icon. The SPLIT SCREEN method is often planned for before you begin shooting. “6 Below” director Scott Waugh framed his 2-shots so there was a gap between the two actors that could accommodate the split screens. Hopefully, the actors would not cross in front of each other during the shot, otherwise, we had to rotoscope that moment to maintain the illusion of merging two shots. 10. The MASK has a built-in MASK FEATHER parameter that softens the edge between the two clips. I can access it from the EFFECT CONTROLS panel or DRAG the OPEN CIRCLE on the right side of the MASK directly in the PROGRAM monitor to expand or contract the amount. With sky replacement shots, it was easy to create a mask that followed the tree line or horizon and then add in night time or cloudy sky, depending on what the story needed at that moment. The principle of how I applied the effect and the execution were the same as the 2-shots with actors. TIP: I always draw at least 4 vertex points for the MASK and they are always outside the edges of the video clips so when I increase the MASK FEATHER, it will only blend the two shots at their intersection and not at the other three edges of the MASK. This is why in Step #3 I lower the zoom level in the PROGRAM monitor so I can access the grey background area outside the active video frame range. Speed changes There are times in film editing where I need to speed up or slow down footage. Even a slight adjustment can make a moment more impactful. Speeding up an action shot by 10% can be the visceral push it needed. Slowing down footage to linger on a close-up, before the actor turns their head, can create an emotional beat through editing. I can achieve both effects in the TIMELINE. To change the speed of any clip, RIGHT CLICK on a shot in the SEQUENCE and choose the SPEED/DURATION option. TYPE in the speed to change the speed. 100% is real time. 50% is half speed. 200% is double speed. You can also DRAG the Speed or Duration parameters with your mouse to dial in the exact value. For slowing down footage, I find better results using whole numbers (50% / 40% / 20%) when using the default setting of Frame Sampling. To get smoother results when slowing down footage, change the TIME INTERPOLATION option to OPTICAL FLOW. This is another VFX effect ported over from After Effects that uses a more powerful algorithm to create intermediary frames that did not exist in the original footage. For locked-off static shots, it’s magical, but on some shots with a lot of motion in the frame, artifacting can be introduced. If something crosses frame or there are various layers of movement, OPTICAL FLOW can blend objects together in an attempt to blend them. I always test it out to see the results. Also, on footage that has been shot at higher frame rates (60 / 120 / 240 fps) and is already in slow motion, OPTICAL FLOW really excels at smoothly slowing it down even further with amazing results. TIP: Here’s a secret trick I use to extend a moment when there is not enough footage at the end of a shot. If an actor has a close-up and they turn their head or blink too soon but I need to stay on that close-up, how do I milk that moment and extract more frames to sustain the shot? Sometimes slowing it down isn’t enough, so I have to ‘ROCK & ROLL’ the shot. I will play the shot up to the moment the actor turns their head or blinks and cut the tail of the shot. I then COPY this new shot and PASTE it right after the original shot. I then CLICK on SPEED / DURATION and chose the REVERSE SPEED option. Now the last frame of Shot #1 seamlessly rolls into the first frame of Shot #2 which is the original footage now playing backward. I now have enough footage to prolong the moment and sell the emotion I was looking to provide for the audience. Chapter 8 Making Great Stories Greater Green screens The use of green screens has become ubiquitous over the years, from the biggest Hollywood blockbusters to the smallest YouTube video. The trick is to sell the effect and make it look more than convincing—the goal is to make it look real. A bad green screen shot jumps out at you and pulls the audience out of the film. The illusion is ruined and it is hard to recover as a viewer. Our brains know what reality looks like. It is our job in post-production to create and sell convincing green screen shots. In the past, removing green screens (pulling a chroma key) needed to be addressed in After Effects or other dedicated VFX software. In the Adobe ecosystem, Premiere Pro benefited from the porting over of ULTRA KEY, that previously lived exclusively within After Effects. This high end, powerful keying solution allows for accurate and easily adjusted parameters to pull an extremely clean key right within Premiere Pro. With our powerful Dell workstations and high-end NVIDIA Quadro video cards, I could pull clean keys in real-time, even while using our huge 6K native RED R3D files. Usually, the green screen work is taken care of by a dedicated VFX artist, but I created a quick workflow that allowed me to create temp green screen shots that survived through all the screenings and previews during post-production. Once we lock the film, I handed off the film to the VFX artists. By design, since my work existed inside the integrated Adobe workflow, the VFX artists could take my work and enhance it to create the final VFX shots. This collaborative structure of shot management aided all of us in hitting our deadlines and delivering pristine and realistic VFX shots. Chapter 8 Making Great Stories Greater Most of the the green screen shots in “6 Below” were insert-shots from cell phones and other devices that Josh Hartnett carried with him while lost in the blizzard of the backcountry. These shots shared information such as battery life, text messages and radio signals during his journey. We filmed all these insert shots in the parking lot of our offices in Los Angeles during a 100-degree heat wave. We then composited these shots with snow-covered background plates that we filmed while on set in Utah. The information on these devices helped inform the audience of his location, struggle and despair as he ran out of battery power and his only link to the outside world. The VFX shots had to look real and match our footage shot 900 miles away—where it was over 100 degrees colder. When I address green screen shots during editorial, my goal is not to pull a perfect key. My goal is to make the shot work well enough to not detract from the viewing experience. My goal is to show the director an accurate representation of the final VFX shot that will eventually be redone at the highest level. The 6 steps in my process above will help you create a realistic and solid VFX shot. It’s a skill every feature film editor should have in their bag of tricks. This is the process I use to pull clean keys on GREEN SCREEN VFX shots: 1. In my SEQUENCE, place the shot containing the GREEN SCREEN footage on the track directly above the BACKGROUND PLATE footage. 2. In the EFFECTS tab, navigate to Video Effects / Keying / Ultra Key. I can also type ULTRA KEY into the SEARCH BAR to isolate and view the effect. DRAG the ULTRA KEY effect onto the top layer that contains the green screen footage. 3. In the ULTRA KEY effect, CLICK the EYEDROPPER icon next to the KEY COLOR parameter to activate it. 4. Use the EYEDROPPER in the PROGRAM monitor to select the green or blue screen to be removed. To get the best initial result, CLICK on an area of the color that is most represented in the shot. There are always shadows and brighter areas to the chroma key screen. Always CLICK on the best exposed and balanced part of the screen. Step 3 5. ULTRA KEY gets me 90% of the way to a solid key with a single click. To refine the key, I switch the OUTPUT mode from COMPOSITE to ALPHA CHANNEL. This allows me to analyze the key and improve the results. 6. A perfect key, when viewed in ALPHA CHANNEL mode, will have pure blacks that represent 100% transparent and pure whites that show what is not affected. To tweak the settings, open the MATTE GENERATION option. Lowering the SHADOW and raising PEDESTAL values will lower the black values and make the key cleaner. At the same time, lowering the TRANSPARENCY values will raise the white values to isolate and retain the information you want to be excluded in the key. All 5 settings within the MATTE GENERATION options affect each other. There is a push and pull dance that occurs while I try to pull the cleanest key. It always takes experimentation to achieve the best result. Step 5 Step 6 Custom presets Presets are powerful tools that quickly help me achieve tasks that I normally create manually. Knowing how to make them by hand is important, but when deadlines are looming, it is nice to know I have an automated option to fall back on. Since I made them myself, they have been vetted, are precise to the task at hand and become huge timesavers. Chapter #8 assets Here are the 139 CUSTOM PRESETS that I load into all my projects: At the end of this chapter, you will find several CUSTOM PRESET packages that I have either created or commissioned talented VFX artists to build for my purposes. I used them on DEADPOOL and “6 Below” and they are free for you to use on your next project. Deadpool Camera Shake Presets (7 presets) Download Here › The best part of CUSTOM PRESETS is that they are formed using the pre-existing effects that live within Premiere Pro. All my presets have real-time playback so no rendering is needed to see the results. With well over 100 stock effects, I can mix and match any of them to create and save a CUSTOM PRESET to be used in the future. Here is my simple process: Vashivisuals - Digizoom Presets (10 presets) Download Here › 1. Add the effects I need to a clip. Adjust the parameters as needed. There is no limit to the number of effects that can be included in a CUSTOM PRESET. It is important to note that adjustments to the MOTION or OPACITY parameters can be included in the CUSTOM PRESET. Even keyframes will be baked into them. 4. CUSTOM PRESETS can be exported and added onto another workstation. I keep all my CUSTOM PRESETS on a flash drive and carry them with me at all times so they are readily available. To export a CUSTOM PRESET, first open the PRESETS folder in the EFFECTS panel. RIGHT CLICK on any preset and choose EXPORT PRESET. 2. Once I finalize my CUSTOM PRESET, I save it as a stand-alone preset. To do this, CONTROL-CLICK on all the individual effects used in the EFFECT CONTROLS tab. Once they are all highlighted, RIGHT CLICK and choose SAVE PRESET. Assign it a custom name and CLICK OK. 5. To import my CUSTOM PRESETS on another workstation, CLICK on the MENU icon on the right side of the EFFECTS panel. I Choose the IMPORT PRESETS option then navigate to where they live on my flash drive. Vashivisuals - Vintage Lens Presets (16 presets) Download Here › Jarle’s Premiere Pro Presets (106 presets) Step 2 3. The CUSTOM PRESET is now added to the EFFECTS panel and can be located within the PRESETS folder. Now when I drag the preset onto a clip, all the effects and settings within it will be applied immediately. Step 3 Visual effects are an integral part of the post‑production and storytelling process. The more options and techniques an editor knows, the more valuable they become to the filmmaking team. A strong fundamental grasp of visual effects is essential but having access to premade CUSTOM PRESETS always helps! Step 5 Chapter 8 Making Great Stories Greater Download Here › TALES FROM THE TRENCHES #9 THE ABILITY TO ADDRESS AND DELIVER A 6K VFX WORKFLOW IN-HOUSE WAS ONLY POSSIBLE ONCE WE EMBRACED THE POWERFUL DYNAMIC LINK OPTION WITHIN AFTER EFFECTS. “6 Below” included 205 VFX shots all finished at 6K resolution to match our delivery requirements. Chapter 9 THE POWER BEHIND THE EFFECTS Every element of “6 Below” pushed the technological boundaries of post-production including finishing the 205 visual effects in the film. This total number of visual effects is modest, compared to many Hollywood blockbusters. The challenge was all the shots were to be completed in After Effects at 6K resolution to work in the Barco Escape format and then downscaled for our 4K theatrical deliverables. For comparison, the vast majority of VFX for films today are completed in 2K and/or HD. Some directors and producers are pushing for a full 4K finish but often the VFX are finished at 2K and then ‘uprezzed’ to 4K for delivery. The amount of data and computational power makes a true 4K finish difficult, especially when you’re talking about simulations with elements like smoke, fire and water. Nvidia M6000 video card By frontloading our pipeline with our DELL Precision 7910 20-core workstations and the powerful NVIDIA M6000 GPUs, we were able to wrangle the 6K pixels and push through the computations and still hit our deadlines. This combination was the only viable solution we found after months of extensive testing. We had two on-site artists working on the VFX shots of “6 Below” and farmed out a handful of heavy rotoscope shots to a vendor in India. VFX lead artist Jon Carr personally handled multiple roles, including working as the assistant editor and creating VFX shots. We worked exclusively in the Adobe ecosystem and relied on DYNAMIC LINK to move effortlessly between Premiere Pro and After Effects. On a regular day, the VFX artists were working on multiple DELL systems simultaneously as director Scott Waugh and I were editing on two separate DELL Precision workstations. A fifth workstation was connected to our RAID and was used only to render out the final VFX shots in 6K. DELL 7910 20-core workstation Getting a balanced and consistent look, even during editorial, is critical to the screenings and viewings for directors, producers and anyone that needs to contribute feedback to the process. Beyond the job of telling the story, we had to give the closest approximation to the final product at every showing of the film. Even though the renders were massive in size, I don’t remember a time when an individual render took longer than an hour and a half. We are often talking about only a three-second shot, but at 6K the processing time is nine times longer than working at HD (1920x1080). Every evening after our editorial work was complete, we would cue up a series of renders to be done overnight. and immediately start working on the 6K R3D RED files was imperative. If we had to work with any other editing application, we would have to transcode out to an intermediate codec and would likely need to deal with shifting gamma in the process. An effective pipeline must always be on the lookout for glitches and incompatibilities that will always crop up over a 10-month run. As we were editing during the summer heat wave in Los Angeles, sometimes the renders would overheat the workstations and cause crashes at night. This was due to the fact that the office building that housed our edit bays turned off the air conditioning at 5 pm and the temperature would reach 95 degrees in our offices. These inconveniences should always be factored in during post-production! Also, we would need time and extra storage to house all the transcodes in the interim. That was not an option given our budget and schedule. We decided early on to stay within Adobe’s software and work with the native files exclusively. I think the key to our success in managing the workload was the ability to stay within the Adobe ecosystem. Having the option to jump from Premiere Pro into After Effects Chapter 9 The Power Behind the Effects Another aspect of working directly with the RAW files is that we could jump into the source settings and adjust the raw clip setting of the shots in either Premiere Pro or After Effects and that gave us a tremendous amount of control to shape the look of the film in editorial. We were all very grateful for this functionality. DYNAMIC LINK is the process by which an individual shot—or group of shots—in a Premiere Pro TIMELINE can be opened in After Effects but still remain connected to the Premiere Pro TIMELINE. This bridging of two platforms harnesses the additional power and flexibility of After Effects’ VFX controls and deeper computational power. It also allowed for additional work to be done from another workstation at the same time and that work would propagate back into the original Premiere Pro TIMELINE. This technique was a breakthrough in the GONE GIRL Premiere Pro workflow that I consulted on and it was created out of sheer necessity. David Fincher asked for a way to apply VFX to the 6K RED footage captured during principal photography without resorting to exporting files from Premiere to be then imported into After Effects. This previous method would create 2 additional files for every VFX shot that would require additional storage, importing, exporting and swapping out files in the Premiere Pro TIMELINE for every single shot. This was far from efficient or intuitive. Here is the elegant solution created by David Fincher, his editorial team and Adobe that solved this dilemma. This technique was a breakthrough in the GONE GIRL Premiere Pro workflow that I consulted on and it was created out of sheer necessity. Dynamic Link It requires only one step to access the power of this process. You RIGHT-CLICK on a shot (or range of shots) and choose REPLACE WITH AFTER EFFECTS COMPOSITION from the menu. This will do two things. First, it opens After Effects and creates a composition that matches the clip (or range of clips) in duration, frame rate and frame size. You do not have to fiddle with settings or parameters. It automatically matches the source assets. Second, it establishes a live link between the two programs that gives real-time feedback and updating between them. Any adjustments or VFX applied within After Effects will be reflected immediately within Premiere Pro. Once a VFX shot has been completed within After Effects, that work is already reflected back within the Premiere Pro TIMELINE. The editor can playback his current TIMELINE and always see the latest version of the VFX. The power of this workflow is reinforced once you consider the reality of constant revisions. The original clip has been transformed into an After Effects project that now lives in the Premiere Pro TIMELINE and can be saved in the location of your choice. The huge advantage gained by this brilliant workflow is that a VFX artist or assistant editor can now work on the clip inside After Effects without disturbing or interfering with the editor’s work. DYNAMIC LINK is bundled into the Premiere Pro TIMELINE but is also a completely separate entity at the same time. This creates a collaborative VFX workflow that frees everyone to focus on their respective tasks with no danger of overwriting or damaging the TIMELINE. TIP: Before applying DYNAMIC LINK, we always copy the clip (or range of clips) we are sending to After Effects onto the next higher available track inside Premiere Pro. By selecting the clip and holding down the OPTION key and moving the clip(s) UP one track, we duplicated the original clip in our TIMELINE. Now we have the original clip and a second iteration which will be transformed into an After Effects project. Chapter 9 The Power Behind the Effects If the director comes in and asks for a VFX adjustment, this note can be passed on to the VFX artist in another room who can then apply those changes in the background. Once they are done with the notes, once again, it is instantly updated in the editor’s TIMELINE. There is no other VFX workflow that grants this much power and elegance to the post-production team that I have ever experienced. On top of that, all the VFX shots are handled in 6K and are FINAL once returned to the TIMELINE. To reiterate, we had no OFFLINE edit on “6 Below”. The current edit is always the final product at full 6K resolution and can then be exported to the final deliverables. I absolutely believe this fluid and flexible workflow will be commonplace and adopted by all of Hollywood in the near future. DELL 7910 20-core workstation Render and Replace If your project has a lot of VFX shots, you can eventually hit a point where having dozens (or more) of DYNAMIC LINK shots active in both Premiere Pro and After Effects will cause a bottleneck on the resources of your workstation. I learned this while consulting on the Premiere Pro workflow for GONE GIRL. No matter how powerful a workstation is, there are limits to computational power and the effect of real-time playback on the TIMELINE. If your playback is stuttering or dropping frames, you cannot review the edit properly. This time-saving and magically simple workflow does leave one question that you are probably asking. What if we need to further adjust a VFX shot or the director asks for a change after we have used the RENDER AND REPLACE option. Luckily for all of us, David Fincher and his team asked the same question and a simple solution exists. If you RIGHTCLICK on the new video asset created via DYNAMIC LINK, you have the option to RESTORE UNRENDERED. This is unacceptable and is the exact situation we dealt with on GONE GIRL. There were roughly 2400 individual shots in the final version of GONE GIRL. Over 90% of these shots were sent through DYNAMIC LINK to After Effects. The majority of these shots needed at least stabilization or split screens applied to them. To implement this function, RIGHT-CLICK on an After Effects project (DYNAMIC LINK) in your Premiere Pro TIMELINE and choose the RENDER AND REPLACE option. At this point, you can pick one specific clip or all the DYNAMIC LINK clips in your sequence to convert. Choose your preferred format (ProRes, Cineform, DNxHD…), where this new asset should be added and the number of handles to include. HANDLES are additional frames both left and right of the clip edges that will be created in case you have to adjust an edit point or add a dissolve to those edit points after conversion. This new standalone video clip will be added to the drive of your choice and also added into your PROJECT. The DYNAMIC LINK is now removed and your hardware resources will remove that performance hit. I’m sure you can now see the power of this functionality and why it is a necessity for projects that have a large number of VFX shots using DYNAMIC LINK. Chapter 9 The Power Behind the Effects ‘Day for night’ is a process of shooting during the day and relying on a combination of color grading and VFX to transform the shots into something that looks and feels like night. A good portion of the film takes place at night and it ultimately proved easier on the cast and crew to film the scenes during the day and hand them off to VFX to transform them in post. Our process to create night was twofold. First, we needed to transform the overall look that would match a full moon at night-time and augment that black sky with a sea of stars. We worked with Technicolor and senior colorist, Mike Sowa to create a transform LUT that took a daylight scene and transformed it with a silver and blue night-time feel while maintaining the dynamic range. This allowed Sowa to further manipulate it during the final color grade. Due to computational limitations of hardware, it was not realistic to expect both Premiere Pro and After Effects to both be open, active and applying effects to hundreds of shots at the same time. Adobe came up with another new feature that solved this issue. It’s a feature that has been in the public version since 2017. RENDER AND REPLACE gives you the capability to convert any DYNAMIC LINK After Effects project in your Premiere Pro TIMELINE into a standalone video file that is automatically imported into your MASTER project. This option removes the DYNAMIC LINK and takes away the processing power needed to maintain that link. Once a VFX shot is approved, the editor can quickly BAKE the effects into the shot and add this new asset into their TIMELINE. The majority of VFX shots in “6 Below” were subtle enhancements. We did things like cleaning up tracks in the snow, enhancing snowfall and creating dozens of informational screens for the MP3 player. By far the biggest VFX task was handling the day for night transitions. This will return the video asset back into the previous DYNAMIC LINK state and give you full access to re-enter After Effects and continue tweaking parameters to your liking. Then when you have made your additional changes, once again RENDER AND REPLACE the shot to create a new video asset. It’s a wonderful further option to maintain the fluid VFX workflow and to know you can dance between the different states to your heart's content. During editorial, we replaced the temporary “Day for Night” preset used in the LUMETRI COLOR panel with the LUT designed by Mike Sowa. Our goal was to always screen the film with the closest visual version of the final image. Thanks to our powerful Dell workstations and the NVIDIA Quadro video cards, we could preview this custom LUT in real-time even with the overwhelming size of the 6K RED native files we were using for editorial. This LUT would get the shots feeling like night but to take it to the next level, we wanted to augment the night sky with stars. It was often cloudy during the shoot, but cinematically it is much more impressive to have a giant starry night shining down on the scenes. We also bumped up against the 6K delivery format requirements again as most of these night shots were in motion and required a star plate (VFX background to replace the actual sky) at a higher resolution than 6K. It was difficult to find large enough stock elements to cover the required resolution. Chapter 9 The Power Behind the Effects We could not scale up the existing night sky plates because the stars would become too large in the sky. We also tried tiling plates (repeating smaller sections of the sky) but often the image became repetitive. In the end, lead VFX artist Jon Carr took a high-resolution 8K stills camera up to Angels Crest, an hour north of Los Angeles and captured a series of long exposure stills that provided enough resolution for us to create convincing star imagery. These stills were then comped into every night-time scene in “6 Below”. The compositing of those plates proved very difficult as many of the locations contained trees with dense bare branches and our job was to get the stars behind all of these trees. We had very limited time to complete all the VFX and fellow artist Shahriar Rahman and Jon Carr had to pull out their bag of tricks to complete these shots in a timely fashion. In post-production, limitations and deadlines force you to find solutions through creativity. This is the hallmark of committed filmmakers. The VFX artists relied heavily on luma keys and creative feathering to pull off the majority of the shots. Mocha Pro was also a key component in the process, which is a third‑party plugin that runs through After Effects. 95% of the tracking was done within Mocha Pro. Ultimately, I think we created something with a unique look that helped director Scott Waugh put Josh Hartnett into extreme isolation that convincingly looked like the middle of the night. VFX Spreadsheet Because time was short and our team was small, a simple organizational system was critical to managing all the VFX shots. We needed a tracking system to keep these VFX shots organized and monitor how each shot was progressing on its way to becoming final. Jon Carr utilized Google Sheets to create a custom document the entire team could access and it was automatically color-coded based on each stage of the VFX shot. Working with a small and creative team proved to be liberating. There were points during editorial when our team was in the parking lot of our office building with a portable green screen, shooting inserts of cell phones and MP3 players to help flesh out information that was essential to the story. This is when it felt like filmmaking at its purest. There is no problem that cannot be solved with ingenuity. These insert shots were then dropped into After Effects and the VFX could be applied instantly. We then added the shots into the current edit within minutes to help better tell the story. When I think back to how we were able to deliver a feature film in 6K, it really was a realm of controlled insanity that we all embraced. Most other productions still work within a 2K or 4K workflow, but we future-proofed our process to stay ahead of the curve and deliver at the highest fidelity that can be shared no matter the format... for the time being! The storytelling process can always benefit from VFX provided the ultimate goal is to keep them as invisible as possible. With so many creative possibilities available within the Adobe ecosystem, we were able to integrate the massive potential of the industry standard VFX platform After Effects to deliver stunning and realistic visuals at the never before attained 6K level. Without a system, things can easily spiral out of control as each new version of a shot begins to add up and things can be very uncomfortable when a director pops into your office to check the status of a shot and you secretly have no idea how to locate the most recent version. Organization is crucial in every element of post-production no matter the size of the project. Always take pride in your work. “6 Below” was a rewarding process. It pushed us to find creative solutions to all the impossibly demanding technical requirements. No other team in the history of post-production had attempted to tackle an entire feature film in 6K resolution for all the editorial and for every VFX shot. It was not an easy journey, but we are all better filmmakers for taking on and conquering this challenge. Chapter 9 The Power Behind the Effects Chapter #9 asset Organization is crucial in every element of post‑production no matter the size of the project. Our VFX lead editor Jon Carr has kindly made available his custom Google spreadsheet that he used to track all VFX shots for the duration of post-production. As he explained in this chapter, a document that the entire team can reference at any given moment is required to keep continuity and a well-organized workflow. The chance of mistakenly using an old version of a VFX shot will always be a possibility and that dreaded feeling of seeing an old VFX shot pop up during screening will teach you a hard lesson. Always refer to this document and triple check it against the most current cut. This has nothing to do with creativity and everything to do with due diligence and pride in one’s work. Work like a professional and you will be treated like one. The VFX Google Spreadsheet Access the Spreadsheet Template › TALES FROM THE TRENCHES #10 “6 BELOW” WAS EXPORTED IN 14 FORMATS FOR DISTRIBUTION AND THEATRICAL PRESENTATIONS. Chapter 10 DELIVERING THE MASTER FILE The film is completed so we begin the last critical stages of post‑production. Creation of the master file, generating the deliverables for distribution and theatrical markets and archiving our project are the final steps. During editing, the film is crafted into a complex tapestry of video clips, effects, transitions, music, sound, dialog and graphics. Once this painstaking process is complete, months of work gets compressed into one file with Adobe Media Encoder. That’s the MASTER FILE. Creating a master file is a purely technical process. It’s not about artistic decisions. It’s about careful quality control and knowledge of optimal settings for each different deliverable. It takes time and energy and is taxing on the system and on the team, but that’s what you have to do to get a pristine final result. The last steps before making the master file are two-fold. First, we exported the locked film (6K footage) to the colorist so he could grade the film to match the vision of the director and cinematographer. Second, we shipped the temp audio mix (28 tracks) to our audio team for full sound design and the final mix. Premiere Pro is capable of exporting all these components directly from the timeline. Using Media Encoder and our custom presets (included at the end of this chapter) we created the exact files that both departments needed to accomplish their work. The 6K RED R3D files were exported from Premiere Pro as DPX files (8TB of files) and graded by Mike Sowa at Technicolor. Here are the EXPORT settings we used to create the 6K DPX files. The temp audio mix was exported as AAFs and shipped to Oscar-nominated sound mixer Greg P. Russell and the E2 sound design team at Warner Brothers to create the final 5.1 and 7.1 sound mixes. Here are the settings for our AAF exports. Once the color graded DPXs and final sound mixes (5.1 and 7.1 WAV files) were returned to our edit bay, we dropped them into a Premiere Pro 6K sequence from which we could finally create the Master File. Master File With the batch process functionality of Media Encoder, we encoded all the exports at one time and had a chance to step away from the workstation as it cooked the files. The proper procedure is to always export a single master file, often called a “Texas Master” that all subsequent deliverables will be transcoded from. This is preferred to individually creating files directly out of Premiere Pro for each deliverable. The master file would then be used to generate DCPs, 4K versions of the film for theaters, a slightly different 4K version optimized for online streaming and a variety of HD version for different TV broadcast standards. We created 14 deliverables in total. This master file is always at full resolution and with the least compression possible. A popular flavor of codec for master files has been ProRes 422HQ or ProRes 4444. ProRes works great on a Mac but Windows could not export ProRes natively, so for many workflows, including ours, a better solution is the GoPro CineForm codec (10-bit or 12bit) which works across both operating systems. CineForm is supported natively in Premiere Pro and Media Encoder and I have used it for over 10 years including on “6 Below”. Batch exporting files from Adobe Media Encoder Source / Export Format vs Render Time UPDATE: As of December 2018, the Premiere Pro CC 2019 (13.0.2) version can now export ProRes from Windows workstations. There is one more extremely important benefit to using CineForm over ProRes. The encoding time into a CineForm file is significantly faster with every source file. For our 6K R3D source file workflow, this saved countless hours over the post run. Using this 6K Master File we created custom Media Encoder presets with optimal settings to export files for internal review, YouTube, Vimeo, Facebook, Blu-ray, Instagram, DCP and any other deliverable regardless of format or resolution. Several of the deliverable sizes and formats we created for “6 Below” 6K CineForm Master File export from Adobe Media Encoder The five quality settings of CineForm. 4 was the maximum we used. Windows Mac Used for Film Scan 2 Best / 100% Rigorous post 5 Film Scan Very Good / 75% Film / HD-DVD 4 High Good / 50% Film / HD-DVD 4 Medium Light post 2 Low Storage 1 *Approximate sizes for 10-bit 1920 x 1080 24p YUV Different frame sizes and frame rates will change rates proportionately Chapter 10 Delivering the Master File Adobe Q Settings The Digital Cinema Package Wraptor Wraptor converts to XYZ and encodes to JPEG2000 but doesn't handle the 23.976p to 24p conversion very well. The default JPEG2000 MXF encoder doesn't do the speed change, the XYZ color space, or the wrapping. The Digital Cinema Package (DCP) is the gold standard of theatrical deliverables. It’s also the preferred format for most film festivals and general screenings. It is a contractual requirement for distribution and must pass stringent QC testing to be accepted. In the past, the cost of making one DCP could run $5000 or more. We made all our DCPs for free, using 3 progressively better methods until we discovered the special sauce formula that gave us the best results. We made a lot of DCPs for “6 Below”, including the final master DCPs that passed QC at Deluxe in Burbank and were shown in theaters during the release. Our initial tests of the Wraptor plugin (included with Premiere Pro and Media Encoder), were acceptable and used for several screenings but lacked some features we needed. We were looking to create 4K DCPs with 7.1 audio and the Wraptor plugin was limited to 2K and 5.1 audio. We did some tests with the Wraptor Pro plugin as well but eventually determined that the free program DCP-o-matic was the best solution for us. 3-time Visual Effects Oscar winner Rob Legato used DCP-o-matic to create his 4K DCPs, so we were more than confident to use it on our film. Wraptor Pro Fnord's free “j2k” plugin bypasses the speed issue, does the XYZ conversion and the JPEG2000 encoding but doesn't encrypt or wrap the files. So clearly another solution was required. Here’s the workflow that we used and another workflow we would recommend for future DCP creation. It’s a complex process but well worth it. Fnord j2k http://www.fnordware.com/j2k/ There are four steps for creating a DCP from a 23.976p timeline in Premiere: 1 2 The output must be converted to true 24p, either by duplicating every thousandth frame or speeding up the picture and audio by 100.1%. The image must be converted from the editing color space (usually Rec.709, Rec.2020 or P3) to CIE XYZ color space. Chapter 10 Delivering the Master File 3 4 The image must be encoded with a very specific flavor of JPEG2000 file. JPEG2000 is a very flexible data compression architecture, allowing one channel for RAW images or three channels for RGB images. Optionally the encoded file can be encrypted for secure delivery and playback control. The JPEG2000 files need to be wrapped in an MXF file with several other metadata files to make the complete Digital Cinema "Package." DCP-o-matic DCP-o-matic is a free open source DCP creation toolset. It can handle all four steps of the process, but we found an even more efficient way to utilize it in a hybrid workflow. DCP-o-matic https://dcpomatic.com/ For “6 Below”, we edited at 4K 23.976p so we needed to speed everything up 100.1% to get it to exactly 24p for the DCP export. The most elegant solution was to export 4K DPXs from the 23.976p project, import them into a new Premiere Pro project and reinterpret to 24p. After syncing the audio, we exported a 4K CineForm file at 24p with 8 channels of audio to use in DCP-o-matic to encode the required JPEG2000 in XYZ colorspace. DCP-o-matic Settings • If you do have 7.1 audio, you need to make a 12 channel DCP. • The first 6 channels follow the usual 5.1 order: (L, R, C, Lfe, Ls, Rs) but the rear left and right streams go in channels 11 and 12 respectively. The resulting file took 30 hours to encode in 4K on our 20‑core DELL workstation but gave us the final master DCP with 7.1 audio for delivery. Edits to the finished piece could be made without re‑encoding it all, due to the fact that DCP-o-matic can edit JPEG2000 files natively, without re-encoding them. With the benefit of another year of experience and many more DCPs created we have optimized our process to be faster, more efficient and of higher quality. Exporting DCP compliant .j2k files directly out of Adobe Media Encoder (AME) is now possible with the free JPEG2000 plugin from Fnord software. Exporting directly out of a 23.976p sequence allowed us to bypass the 24p video conversion issue (because it is a frame sequence) plus we got the content into the XYZ colorspace and encoded to JPEG2000. Those files were imported into DCP-o-matic for the much faster encryption and wrapping stages. The master audio WAV file from the 23.976p project was then imported back into Premiere, sped up to 100.1% and finally exported as a 24p audio master WAV. A few things to keep in mind when using DCP‑o‑Matic: DCP-o-matic Audio Settings The workflow choices have a huge impact on the encoding speed. 4K obviously is more resource intensive than 2K but we did test both. • Using DCP-o-Matic took 18x the run time for all the steps combined in 4K and 3x the runtime for 2K. Our 100-minute film took 30 hours to export to DCP in 4K and 5 hours in 2K • Using the .j2k frame export approach required 8x runtime for the 4K export in AME, plus 1/4th of the runtime for the MXF wrap in DCP-o-matic, or 1/3rd of runtime for wrapping with encryption. Our ten minute 4K test took 80 minutes to encode and 3 minutes to wrap. • The Wraptor plugin at 2K export took 3x runtime with the wrap taking 1/20th of the runtime and the encrypted version taking 1/6th of the runtime. Our ten minute 2K test took 33 minutes to encode and 30-90 sec to wrap. • The j2k files must be imported as a folder, meaning that each sequence should be isolated in a dedicated folder. • After import, make sure they are set to be used at 24p. In most cases, you will want to set the software to InterOp instead of SMPTE. Encode time was significantly longer at 4K than it is at 2K. The free j4k encoder is twice as fast as DCP-o-matic at 4K, although similar at 2K. None of the encoders we test have really been optimized for speed and are they made minimal use of the 20 CPU cores we had available on our workstation. If an optimized JPEG2000 encoder option in AME supported XYZ color and utilized multiple threads, the encode time would be significantly cut with existing hardware. Until that day comes, budget your encoding time accordingly. The final factor to consider in this intricate dance of DCP creation is the bitrate. Within our workflow, the maximum limit available was 250Mb/sec. After our testing, we would recommend 200Mb for 4K and 100-150 for 2K. Higher rates than that did not show any visible improvement in image quality. Chapter 10 Delivering the Master File Archiving the project Highlights of post-production were the test screenings at Amblin Studios on the Universal lot in Burbank. We were privileged enough to test the 4K DCP at Steven Spielberg’s state of the art theater. An honor and quite a treat. I even grabbed some Reese’s Pieces from the built-in concessions stand for the screening! The filmmaking journey is winding to an end. 10 months of creative and technical grinding is almost complete. Once all final deliverables have passed QC and been accepted at their final destinations, the post-production will conclude with archiving the project. There are several ways to archive an entire project, but I want to focus on only two methods: the convenient way and the inexpensive way. It’s up to you which path you choose, dependent on budget, time and need for accessibility. For “6 Below” we had the 64TB RAID that contained every element, asset, project, render and output from the entire 10-months of post-production. We invested in the storage and it can continue to be our long-term storage solution. Once all the deliverables have been turned over, we are technically done with post-production but we can always revisit the RAID in the future. As long as we spin up the 8-drives every 6 months or so and keep it in a stable environment it should be fine but it’s always best to have another copy. The affordable alternative is to purchase an inexpensive larger capacity hard drive and use the PROJECT MANAGER option in Premiere Pro to move a copy of the final edit onto that drive. By choosing the source files used in the edit (with handles for a little wiggle room) plus the project files and outputs, one drive can hold the entire 6K film. We also had nine 6TB WD drives used as transfer drives then as backup drives on “6 Below”. One of these 6TB drives can hold the entire final timeline and all its related assets. We spent the next week creating all final deliverables for distribution and theatrical presentations. We had to watch every output and make sure every frame was pristine and audio flawless. We then sent all our files for final QC approval at Deluxe in Burbank that ran each deliverable through their rigid and demanding tests to ensure ultimate perfection. The final deliverables included: 1. 4K DCP 2.76:1 aspect ratio 2. 2K DCP 2.76:1 aspect ratio 3. Three 2K DCPs 7:1 aspect ratio for BARCO ESCAPE 6K format (theater) 4. 4K ProRes 2.76:1 aspect ratio 5. HD ProRes 2.76:1 aspect ratio 6. SD ProRes 2.76:1 aspect ratio 7. HD Blu-ray 2.76:1 aspect ratio 8. DVD standard definition version 9. HD version for domestic and international airlines 10. 4K version for online streaming services 11. 1080 HD version for online streaming services 12. 720 HD version for online streaming services 13. Standard Definition version for streaming services 14. The 6K full frame 6144 x 2592 master file Chapter 10 Delivering the Master File Chapter #10 asset 20 Adobe Media Encoder custom presets created for “6 Below”. These presets were optimized and tested for maximum efficiency to provide the highest quality results. They are literally our “special sauce” culled from years of experimenting. Now they are yours to help deliver the best results in your projects. Import them via the IMPORT PRESETS button inside the Presets panel of Adobe Media Encoder. This will allow you to export all the formats we used for creating the final deliverables during post-production. 20 Adobe Media Encoder custom presets created for “6 Below”. Download Here › 6TB transfer drives from “6 Below” The filmmaking journey and post-production of “6 Below” was an exhilarating and challenging experience. We all pushed the boundaries technically, creatively and personally. Long days and longer nights were needed to hit deadlines and make sure everything was perfect. Then it was all done and we let it go. Once a film leaves the edit bay and enters the world...it will live there forever. Every decision you made is on the screen. Every great decision will shine on forever. Every mistake will leap out at you forever. 10 months of work is infused into the film. We emptied our tanks to tell a story that would hopefully resonate with every person that sat down to watch it. I hope in sharing our process with you, it will help you achieve the same success we were blessed to receive on “6 Below”. written by Vashi Nedomansky, ACE additional content courtesy of Mike McCarthy & Jon Carr