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  • Media Manager or Project Manager in conjunction with reLink reTooled – Work From Home

    Ok, so if you’ve been following the site you probably know about reLink reTooled. You know that it was created to be able to relink files of different titles and durations, for things like relinking an offline edit to a color correct.

    What you may not have realized is there is a ton of other ways to use it. In this video, we talk about using it in conjunction with Final Cut Pro 7’s Media Manager or Premiere Pro’s Project Manager. Now we all know we can use these features to archive our projects to make our project smaller. But we can also use them to be able to take our projects on the road without the overhead of all of the original media.

    So here’s the scenario, you’ve been working all day on an edit and its starting to get late. You want to finish up the edit at home, but you don’t have time to copy all of the media to an external drive. After all, a large edit could easily contain hundreds of gigabytes worth of footage. Sure, you could media manage your project so you can trim your sequence down to just a few seconds of handles to finish your edit, but how would you then get your edit relinked to your original media when you get back to the office.

    Enter reLink reTooled…

    Just remember, all of your media needs to be .mov files for this workflow to work!

  • Working Around a Premiere Pro CC Bug to Sort in Icon View

    So, if you are like me, you were really excited that Premiere Pro CC got the much needed ability to sort in Icon View. There are a number of predefined methods you can sort by, and you can even create a custom sorting order by using metadata in list view and choosing the “List View Sort”. For more info on these great new features, see this article.

    ListView

    However, the big disappointment is that as of right now, these custom sort methods don’t actually work in List View or Icon View. Meaning, you can click on the column header to sort, but it just won’t take! You can see this issue in the video linked to above. Now, this post isn’t intended to bash the engineers at Adobe, hopefully they are hard at work on the solution as we speak. It is merely intended to give you guys a potential work around.

    For me the issue was that I wanted to be able to sort in Date Created order. I had a number of cameras that name their files differently, shoot to different formats and frame rates, and don’t shoot any meaningful timecode. If I merely sorted by Name, it would sort each camera in Date Created order, but all 3 cameras would be separated from each other. I wanted to see all 3 of the cameras placed in the right order and mixed in with each other.

    I decided that my only solution needed to happen before I ever took my clips into Premiere Pro. I opened up Bridge CC, made sure to sort my folder of videos by Date Created, and simply evoked the Tools-Batch Rename option. There, I set up a few custom rules to basically keep my original file names while adding a 3 digit sequential numbering to the front of my file name.

    Batch Rename

    Now, when I load my clips back into Premiere I can simply sort by Name and know that my clips are in the right order. I should warn that this project is a single person type of operation, so if you are sharing clips with others and need to make sure you have the same file names this would not be the way to go. This is a distructive process (unless perhaps you save the originals in metadata and find a way to go back), so please use caution when using this workaround yourself.

    To make sure Adobe knows about this bug and sees there is demand to fix it, file a bug report by clicking here.

  • Marker Features and Changes in Premiere Pro CC

    WARNING, THIS ARTICLE IS OUTDATED. SEE UPDATES AT THE BOTTOM:

    Markers saw a major overhaul in Premiere Pro CS6, and these features saw a few enhancements in Premiere CC. While these features may not address all of users issues with the marker system in Premiere, it certainly goes a long way to improving a few of the pain points.

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  • Introducing Color reTooled – Color Correction Looks Presets for Premiere CC and SpeedGrade CC

    Color reTooled is a collection of over 55 presets for Adobe Premiere Pro CC and Adobe SpeedGrade CC.

    As an Online Editor and someone who cuts his own short films, I know that sometimes it’s a hastle to take your work into another program to do color correction and sometimes, you just want to drag on a few simple looks and go about your business. I also know that a lot of editors don’t enjoy or know how to color correct. That is why we developed Color reTooled.

    In Premiere, you can easily drag and drop the looks onto your clips. This makes it extremely simple for an editor with little color correction experience or in a hurry to make changes to the look of their clips. From the most simple brightness and contrast effects, to black and white, vignettes, and tints, there are looks to fit all of your color correction needs.

    Color reTooled is being launched today, to coincide with the launch of Premiere Pro CC and SpeedGrade CC. We wanted to make the package affordable on any budget so that productions from large to small get get up and running with the new Premiere and SpeedGrade interoperability.

    Click here to order! Color reTooled is on sale now! Just $12.99!

    See samples of all of the looks now:

     

  • Switcher’s Guide – Premiere Pro Speed Changes & Freeze Frames

    In this video we discuss the numerous similarities and differences between speed changes and freeze frames in Premiere Pro and FCP7.

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  • reLink reTooled Used to Conform The Bike Maker – A Made by Hand Film

    The fifth film in a series of shorts by Made by Hand was released today. It was directed and produced by Keith “keef” Ehrlich and edited in Final Cut Pro 7 by editor Matt Shapiro. The film details the story of bike maker Ezra Caldwell and his fight with cancer.

    After doing his offline edit, Shapiro had his color correct done by Jamie O’Bradovich at Company 3, New York. He got his files transfered to Apple Prores 4444 and turned to reLink reTooled for the conform and relinking process.

    Speaking to the conform process, Shapiro said, “The reLink reTooled app was incredibly efficient and easy to use. It made our conform process run extremely smooth when finishing our most recent ‘Made By Hand’ film. I can’t tell you how much time we saved over doing this manually.”

    You can see the full site here:
    http://thisismadebyhand.com/film/the_bike_maker

    The film has also been featured on Gizmodo:
    http://gizmodo.com/the-story-of-the-bike-maker-who-can-hardly-ride-his-own-507533391

  • The Project that Wasn’t at NAB – reTooled.net Joins AOTG for an Interview!

    You can listen to the interview here.

     

     

    It hasn’t made it to the iTunes version yet, but check out the link to the official podcast. Rate The Cutting Room, and show your support!

    https://itunes.apple.com/us/podcast/the-cutting-room/id292530207

  • Premiere Pro New Features – The Crop Tool Now with Feathering!

    Who the hell needs to feather their crops!?

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  • reLink reTooled at AENY-Thursday April 25th

    I’m happy to announce that I’ll be doing a live demo of reLink reTooled for this month’s AENY meeting. We’ll do a few sample relinks and demonstrate how you can use reLink reTooled with your NLE to conform color corrected footage, and even how it can be used with After Effects or other compositing programs. Most importantly, I’ll be there to answer any questions you might have about the product. Be sure to get there on time, because we’ll be going on first!

    You can get the full meeting information here:

    http://aeny.org/2013/04/april-2013-meeting/

     

    Please remember to register with Eventbrite due to new security regulations:

    http://aeny13.eventbrite.com/

     

  • After Effects Render and Replace in Premiere Pro and FCP7 – Using reLink reTooled

    A lot of films, TV shows, and commercials use After Effects as their go-to motion graphics, visual effects, and compositing platform. In some workdlows, its okay to render your final out of After Effects, but personally I find that workflow too limiting. After all, how often is an edit really “locked” when your client, producer, director, etc. say that it is? And to start tweaking an editor or worse have to play back edit changes from After Effects, isn’t ideal to say the least.

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