Click on any phrase to play the video from that point.
[Adobe TV Presents]
[Jason Levine]
[Short and Suite: On the Road with Jason and Karl]
Hi, I'm Jason Levine,
and welcome to another episode of Short and Suite.
Today, I'm going to talk to you about using sub clip markers,
comment markers, and building a basic rough cut
from Adobe Prelude CS6,
and then instantly sending that to Premiere Pro CS6
or even another NLE like Final Cut.
So here we are inside of Prelude,
and in my last episode, I showed you how to do a partial ingest
from some footage that I shot on my Nikon D800 on a safari in South Africa.
So what I'd like to do now is
now that I basically brought in the pieces of the clips that I want,
now I'm going to refine it a bit further
by basically scrubbing through them,
finding the clips that I want, and building a very basic rough cut
by using sub clip markers and also creating some comment markers
of which I'll be able to read those comment markers
inside Premiere Pro when I send it over there.
So here we are inside Prelude.
I'm in my Timeline view, and I'm looking at my first clip,
and again, all this can be done with keyboard shortcuts.
If you want to use your mouse,
that's fine; I'm going to show you sort of a basic method here,
and of course, I'm a US keyboard, so this might be different for some of you.
Obviously, standard play controls, transport controls, JKL function here.
So when I'm inside my Timeline panel,
I can use JKL, of course, to quickly review my footage,
and I can see that I basically probably want to start right at the beginning here,
so I'm going to hit my sub clip marker,
shortcut key number 1,
and I can give it a name,
so let's be a little more specific here, and we'll call this
elephant eating,
like this,
and you'll notice that when I do that, we also have the ability to add a description:
here is the elephant baby eating--
oh, that's the mother; that's okay.
Here's the elephant mother eating.
Okay, and we're back to the name again. Okay.
So again, now we have our title here.
We have the description,
and we can see that this sub clip marker has been applied to the entire clip.
Now again, as I play through this,
perhaps I want it to end right about here.
You can see I have a little bit of a camera shake right there.
I kind of changed the position of my camera,
so right after her trunk goes down,
I'm simply going to grab the edge of my marker,
and I can adjust it like that.
I can also grab the time code here,
and when I release, it adjusts the edge.
That's kind of an even easier way to review it like that.
Or this clip happens to be very short;
if I were actually playing this--I'm going to show you in a moment,
I'm going to show you how you can get in and out of the markers
very quickly using keyboard shortcuts.
So I might want to add some comment markers to this, as well,
so let's go ahead and do that.
So while it's playing, I'm going to hit shortcut key number 2
to add my comment marker,
type a very quick comment or maybe I'll even leave it blank for now
and just get out of it to show you how to get out.
So let's go ahead and start playing back, shortcut key 2;
it sets my comment marker, Alt O to get out,
Enter, and there's my marker.
So the Alt O allows me to set the out point of that marker.
Now I can come back over here, select it;
let's go ahead and type a name in here.
So we'll call this
elephant eating,
and we can put in a description:
The mother eats some branches.
And that's that.
Okay. All right, so that's it for clip 1.
That looks good, and now what I'm going to do;
you'll notice down here that next to the file name, there's a little asterisk
indicating that we have dirtied the file.
What have we done? Well, we've modified the meta data.
Remember that all this information that we're adding here is meta data.
So if I simply save this,
now we've modified that meta data,
and if you look over into the Project panel here,
you can see that now it's actually created a sub clip
for this piece of footage.
So let's go to the next one here.
I can review this. I can start play back;
maybe I'll add a sub clip marker here.
Alt O to get out of that one.
Enter so I can begin the process of adding a new one.
1; Alt O; Enter.
Okay, I'm going to just leave those as they are.
I don't really care what they are--just to kind of show you
that I'm using keyboard shortcuts to add these different markers.
Again, I'm going to save this; dirtying the clip, it saves those 2 sub clips.
Let's go to another clip here; I think we've got some lions down here.
Okay, so I can start the play back of the lion clip.
Okay, this is a nice one.
This is where the lion gets up. Let's go ahead and take this back to the beginning
where he's looking at me.
I'm going to set my sub clip marker; let's give this a name:
Lion approaches.
Okay.
Description: The lion gets up from the grass.
Okay.
Go ahead and play that back.
All right; now again, I'm doing this all hand-held.
It's a bit shaky, so again, for me,
I typically like to grab the edge here.
This is how I like to typically review the outpoint of my sub clip markers,
and maybe we'll get out right about here--right when I start to shake a lot.
This is probably a good candidate for the Warp Stabilizer in Premiere Pro or After Effects.
And there's my sub clip.
Again, I can come back to the beginning.
I can start playback. I can add a comment marker.
Lion moves away from the grass.
My description.
Okay. Stop that. We'll give this a title:
Lion moves. Okay.
And again, we've got a dirty clip,
save it; now we've got a sub clip ready.
So now we can begin the process of actually building a rough cut
from these sub clips.
We can go through the other ones here--I think I've got some shots of us driving,
so maybe this is a good one here; again, this is using
the 14 to 24 f/2.8 lens with the D800.
So again, I can come in here and play this back,
strike the key 1 for sub clip,
Alt O to get out,
Enter so that I can begin using a new one,
and there we go; and again, I can give this a name if I want.
Driving in car.
Don't need a description for this one.
Save it, because it's dirtied,
and now we've got these 5 sub clips ready,
so that now we can begin the process of building a rough cut.
Now with these sub clips themselves,
if we actually want to take these sub clips as they are
and begin working in Premiere Pro with them
before I even build a rough cut,
I can actually right click on one of these sub clips,
and I can choose to send to Premiere Pro,
and when I do that, if Premiere Pro is open and I've got my project open, which I do,
there it is!
It's instantaneous. It brought us over to Premiere.
The clip is now inside Premiere Pro's Project panel,
where I can right click,
I can choose New Sequence from Clip.
It builds it for me.
Let's go ahead and zoom back out here.
So here is the elephant eating,
and by the way, look down below.
Notice the green comment markers with the text?
There's the text. There's the meta data that we added in Prelude.
We're seeing it on the clip inside the timeline in Premiere Pro CS6.
So this is a very fast and effective way to very quickly--
again, select, tag, and send to Premiere.
Awesome! So that now you can see it in the context of other edits.
But again, what we're actually wanting to do here is build up a rough cut
and send that--well, that finished rough cut to Premiere Pro.
So let's go ahead and do that.
So you've got a different of different ways that you can build a rough cut
You can choose Create a New Rough Cut here with this button,
or of course, you can go up to the File menu
and choose Create Rough Cut.
However you want to do it, that's entirely up to you.
I'll choose Create Rough Cut; we'll stick it in our untitled folder,
and we'll call this
Elephant Lion Drive.
Save. Okay.
Let's go ahead and double click on that.
Where basically now we have this blank timeline,
and effectively, what I can do
is I can take all the sub clips that I have,
and I can simply drag these down into my rough cut
and now, as I play this back,
what you can see--and by the way,
you can also see all of my comments now inside the timeline.
Now we're getting a good visual of this basic rough cut that I just built up.
Is it brilliant? No.
Is it fantastically amazing? No.
But this gives you the idea. Boom! Now we're back to the car.
Awesome! Okay, so we've just rough cut these 6 or 7 clips together;
now, we're ready to do more on this.
We want to add some transitions. Maybe we'll want to color correct.
Maybe we want to warp stabilize.
I want to begin working on this rough cut inside Premiere Pro.
So just as I showed you moments ago with sending individual clips to Premiere,
I can also right click on the rough cut
and choose Send to Premiere Pro.
Go ahead and save the changes.
Yes, we want to save the changes to that rough cut file.
Again, it's been dirtied, right? The actual .ARCUT file.
Go ahead and click Yes on that.
Sends us over to Premiere Pro.
It's literally instantaneous.
You can see now that it has also brought in those additional movies,
those additional video files that we were working with.
Here we already have a sequence built, Elephant Lion Drive.
Double click.
Show all the clips. Here we are inside the timeline.
L to play it back.
Let's go ahead and go into a slightly bigger view here.
And now you can see all of my footage playing back.
Again, if we want to go into our Cinema mode,
Ctrl Tilde (~).
There we are
inside the timeline.
So very simply, I can take the footage that I've ingested into Prelude.
I can start tagging and logging.
I can add all this rich, relevant meta data.
I can begin the process of assembling my edit in Prelude,
and then I have the option to send individual clips to Premiere Pro
for further work
or take the entire rough cut and send that instantly to Premiere Pro
for more.
Now even better, what if you're not actually going to be editing this in Premiere Pro CS6?
I, of course, hope that you do,
but you might not--and this little hair is going to drive me nuts!
Maybe you're not.
Maybe you're thinking about switching.
Well, okay. If you're a part of Creative Cloud,
you have Prelude; you have all these other applications in your arsenal,
but maybe at the moment, you're still editing with other NLEs.
Well, we're going to make it easy for you to use what you've done in Prelude
with Final Cut Pro.
So I can go up to the File menu here
and instead of sending my rough cut to Premiere
or sending my clips directly to Premiere,
we're not going to use the Send To command;
we're going to use Export.
We're going to choose Project, give it a name,
and we'll call this Safari Animals,
and instead of the project type being Premiere Pro,
I am now going to choose Final Cut Pro XML.
That's right. It's that simple.
So this, your rough cuts will translate over to Final Cut as sequences.
Your clips will be there; again, if you're ingesting everything as ProRes anyway,
it's going to play back instantly in real time; no hassles, no fuss, no muss.
And very easily allow you to share the work that you're doing in Prelude CS6
with a 3rd party NLE that's not even a part of Creative Suite 6.
This is, again, one of the brilliant things that we're offering with Creative Cloud,
and as switchers, it's even better,
because you can actually be working in another app,
get all the benefits of working in partial ingest,
and just the ease of background transcoding and all these features in Prelude
and still work with your other NLE for the moment.
I do, of course, hope that you will switch over to Premiere Pro; you should!
All right, so that's a very basic look at rough cutting,
meta data, logging and tagging inside Prelude CS6.
I hope you've enjoyed this episode. So much more to come in Short and Suite.
It's great to be back. We'll see you next time.
[Adobe TV Productions]
