Premiere Pro Techs: Sight & Sound Documentary

Instructor Notes

Premiere Pro Tech 1 (120 min)

Before Students Arrive:

• Turn on all the computers
• Display this slide

As Students Arrive:

• Students log into the computers
• Students fill out the attendance form (goo.gl/1zj5wh)
  

Introduction and Overview:

• Introduce yourself (name, pronouns, and position/area)
  
• Explain that this first post-production tech seminar will cover best practices for:

• Creating projects
• Handling media
• Basic editing
• Titles
• Exporting

• Opting-out

• There is no opt-out option for S&S Doc Tech #1. This tech covers essential techniques (proxies) that are new compared to any other S&S Premiere techs.
• Everyone must attend the first 20-30 minutes of Tech 2, but may then opt out of the remainder if you took S&S Film already
  

• Kanbar FTV Production Website

• Tech Seminar Calendar (bottom of the home page)

• It is always the most up-to-date
• Shows locations (and alternates if you miss)

• PPC page

• PPC hours & operations calendar for the semester
• Where to find SFX/Audio download
• Fire alarm procedures

• Save, Grab Keys and Wallet
• Get Out, Don’t Run, Use the Stairs
• Fire Door between buildings: 2 different alarms

• Knowledge Base for this class

• Post
• Backing Up Media

• Accessing Adobe Creative Cloud on personal devices

• Reminder of the benefits to working at Tisch

• Building community/relations
• Getting immediate help
• Powerful computers

• Remind them that the PPC only updates before each semester

• Turn off auto-update on personal computers
  

• External drives

• Students connect their external drives

• If a student didn’t bring one, create a folder on the Media Drive for the tech

• Students check the formatting of their drives

• If macOS Extended Journaled, they should use their drive for the tech
• If anything else (especially ExFAT), they should create folder on the Media Drive to work off of for the tech and see the instructor after the tech

• Reminder to bring their external drives to the next tech seminar
• Emphasize the need to back up to a 2nd drive

• Google Drive is not feasible due to storage limits
• We do not do data/drive recovery here at NYU

• Recommendations

• Show Required Purchases page (link at top of Kabar site)

• Show Hard Drive and Computer Specs doc on this page

• Must have two external drives (one working, one backup)
• SSDs or HDDs are fine
• HDDs must be AC-powered & 7200 RPM (unless exclusively used for backing up)
• Get whatever capacity (1TB, 2TB, etc.) makes sense for your project, always keeping the drive less than 80% full

• Formatting

• Must be macOS Extended Journaled to work at Tisch
• ExFAT is a huge problem (irreversible data loss & computer crashes)
• APFS is slow on HDDs, and unreliable with NLEs
• MacDrive is the best way to work between macOS and Windows
  

• Basic Folder Structure Template

• Show where to find (S&S Doc Knowledge Base, Post, Supplemental Materials)
• Download and extract it to working location
• Rename extracted folder structure to “SSDoc_[Student NetID]_Tech1”
• Explain that the .zip can be extracted repeatedly to give a fresh template
• Reminder that good organization means you can work faster and get help more easily

Premiere Pro:

• Launch Premiere Pro from the dock

• Log in to Creative Cloud in the pop up window

• Type “nyu.edu” in the email field, then use your NYU Net ID and password when prompted

• If someone else has already signed in, sign out by selecting the log out option from the Help drop down menu and then sign back in as yourself

• Create a new project

• Click the New Project button
• Name the project
• Set the project location: SSDoc_[Student NetID]_Tech1, 01_Project_File
• Choose None for the Template dropdown
• Check the box for Skip import mode

• Explain it’s best to Skip import mode and just create the project, rather than also importing media and creating bins/sequences

• Maintains more control over the settings Premiere chooses to avoid issues down the road

• Scratch Disks

• Click the gear icon in the New Project window
• Go to the Scratch Disks tab
• Project Autosave: Documents

• This protects your autosaves on the computer in case your drive dies

• All others: Same as Project

• Click OK
• Click Create to create the project

• Workspaces - a saved preset for window layout

• Workspaces button (top right) to change between presets

• Editing workspace is the default

• Reset: Workspaces button (top right), Reset to saved layout

• The interface

• Show the panels

• Project Panel (keyboard shortcut: Shift + 1), where you can access your bins, the Media Browser, and Effects library
• Source Monitor (keyboard shortcut: Shift + 2), where you can preview your clips, set in and out points, and access the Effect Controls
• Timeline Panel (keyboard shortcut: Shift + 3), where you can open and edit sequences
• Tools Panel, where you can choose different ways to manipulate the clips in your sequence
• Program Monitor (keyboard shortcut: Shift + 4), where you can view your sequence
• Panels are outlined in blue when active
  

• View/hide windows: Window (top menu bar), click the window name from the dropdown to view/hide

• Create bins (keyboard shortcut: cmd + b)

• 00_Sequences
• 01_Footage
• 02_Audio
• 03_Graphics

• This includes titles, overlays, stills, etc

• Reminder that good organization means you can work faster and get help more easily

• Importing & ingesting media

• Open the 01_Footage bin (the last bin you opened will be the destination for imported media)
  
• Open the Media Browser

• Explain other methods (such as File, Import) might not import the audio along with the video, or might break up really long clips (“spanned” clips) from certain cameras
  

• Set the Ingest settings (wrench icon in the Media Browser)

• Ingest: Copy
• Preset: Copy with MD5 Verification
• Primary destination: SSDoc_[Student NetID]_Tech1, 02_Media, CardClones

• Explain to change this when trying to copy into a new folder (e.g. for a different camera card)

• Click OK to confirm the settings
  

• Explain that media needs to live on your drive, not a computer’s internal storage. Otherwise, it’ll go offline when moving between computers

• Use Ingest instead of regular Import for any media not on your drive (camera cards, etc.) to both copy media to your drive and import it into Premiere in one step

• Mention DaVinci Resolve’s Clone Tool is another option (don’t need to show during tech)
• Drag and drop doesn’t verify a successful copy, can lead to irreversible corruption

• Media already on your drive: Turn off Ingest (uncheck the box) to prevent an unnecessary second copy
  

• Ingest Ovens of Cappoquin footage

• Check the Ingest box
• Navigate to Media drive, Tech 01 Footage for ingest, Ovens of Cappoquin, Ovens of Cappoquin Tech 01 Footage for Ingest
• Select the clips in that folder and right click, Import

• Open the 00_Sequences bin and create a new Sequence (File, New, Sequence…)

• Explain it’s best to choose your own sequence settings so you can be sure they’re what you need.

• If you let Premiere decide for you, it might choose something that causes problems for you later on
  

• Choose the Sequence Settings (Settings tab)

• Editing Mode: Custom
• Timebase: 23.976 frames/second
• Frame Size: 1920 horizontal 1080 vertical
• Pixel Aspect Ratio: Square Pixels (1.0)
• Fields: No Fields (Progressive Scan)
• Display Format: 23.976 fps Timecode
• Sample Rate: 48000 Hz
• Preview File Format: QuickTime
• Codec: Apple ProRes 422 Proxy
  

• Name the sequence “Ovens of Cappoquin_Rough Cut 01_[date]”

• Duplicate your sequence at the start of each editing session so you can easily go back to a previous version
• Reminder that good organization means you can work faster and get help more easily
  

• Click OK to create the sequence

• Mixed formats

• Explain proxies as an important tool for editing unusual footage:

• Lower-quality version that maintains a link back to the original source
• Useful for source media the computer can't handle (e.g. archival footage, cellphone footage, etc.)
• If you experience playback issues with your media (stuttering, dropped frames, lagging, etc.) proxies are a solution which allows for smoother and more reliable editing.
• More reliable to generate in Premiere by right clicking on clips in bin, “Create Proxies” rather than Ingest

• Open the 01_Footage Bin and locate the 16mm archival footage - Middlebury College_Uncompressed.mov and Landscape scrub bush_Animation.mov clips
• Edit both clips into the sequence

• Demonstrate how the clips don’t play back smoothly

• Making proxies

• Select the 16mm archival footage - Middlebury College_Uncompressed.mov and Landscape scrub bush_Animation.mov clips in the 01_Footage Bin
• Right-click, Proxy, Create Proxies…

• Frame size: Half

• Recommend Quarter for UHD and above

• Preset: ProRes Quicktime Proxy
• Location: Browse, SSDoc_[Student NetID]_Tech1, 02_Media

• Create a “Proxies” folder

• Click OK

• Proxy column in bin

• Explain this is useful to verify if proxies were successfully created.

• “Attached” means it was successful.

• Display proxy column:

• Scroll to the right in Project panel looking for Proxy column
• If not visible, right-click any column header, choose Metadata Display…
• Search for “proxy”
• Under Premiere Pro Project Metadata, check the box for Proxy
• Click OK

• Toggling proxies

• Explain proxies need to be toggled on in each viewer (Source or Program)
• Add Toggle Proxies button

• Check row of buttons below Source and Program monitors for Toggle Proxies button
• If absent, click Button Editor 
• Drag and drop Toggle Proxies button into the row of buttons at the bottom of monitors

• Toggle proxies on and off

• Blue (enabled): Viewer is showing proxies
• Gray (disabled): Viewer is showing original footage

• Edit the clip into the sequence
• Right-click on the clip in the sequence and choose Fill frame

• Adding clips to the sequence

• Load a clip into the Source Monitor and set in and out points (keyboard shortcuts: i and o)

• Go to in and out points (keyboard shortcuts: shift + i and shift + o)
• Clear in and out points (keyboard shortcut: opt + x)
• Explain these shortcuts affect the active (outlined in blue) panel
• Show Track columns within the timeline and what they mean

• Explain patching

• Drag and drop only audio or only video from the Source monitor
• Load another clip and set in and out points

• Insert (keyboard shortcut: comma) in the middle of a clip in the timeline
• Overwrite (keyboard shortcut: period) over a clip in the timeline
• Show how to undo (keyboard shortcut: cmd + z) and redo (keyboard shortcut: cmd + shift + z)

• Moving clips and Linked Selection

• Show the Linked Selection (top left corner of Timeline Panel)
• Drag a clip in the timeline with Linked Selection turned on (blue), audio & video move together
• Drag a clip in the timeline with Linked Selection turned off (gray), audio & video move separately

• Trimming clips

• To change the length of clips in a sequence, click at the beginning or end of a clip and drag to trim
• Red trim tool (default)

• Can’t extend a clip over top of another
• Making a clip shorter leaves a gap

• Ripple (yellow) trim tool (keyboard shortcut: cmd + click near an edit point)

• Extending a clip over top of another pushes everything else down the timeline
• Making a clip shorter leaves no gap

• Rolling (double) trim tool (keyboard shortcut: cmd + click on an edit point)

• Making one clip longer also makes the adjacent clip shorter

• Separating synced audio and video clips

• To separate temporarily, use the Disable Linking Button from Timeline Tools
• To separate permanently, select Clip from the top menu bar and then Link from the drop down menu

• Save project

• Resizing and repositioning

• Select a clip in the sequence
• Open the Effect Controls panel

• Explain that you can also access these in the Properties panel, but it’s usually easier to work in the Effect Controls panel because it contains all settings (Properties only has some settings)

• Open the Motion section
• Adjust the scale
• Adjust the position 

• Video transitions (dissolve)

• Open the Effects library
• Search for Dissolve
• Drag and drop the Cross Dissolve between two clips
• Trim the transition to be shorter and longer
• Click and drag to reposition the transition

• Titles

• Enable the Type tool (keyboard shortcut: t)

• Note: Do not enter the Captions and Graphics workspace. This workspace does not show the Properties panel. Stay in the Editing workspace.

• Position the playback head at the end of the sequence
• Click and type on the Program monitor to create a title

• Note this creates Graphics clip in the sequence

• Select Graphics clip in the sequence to open its Properties panel

• Explain this replaces the Essential Graphics panel and, unlike effects, is the only place to edit text settings

• Show how to change:

• Position
• Font
• Size
• Color

• Position the playback head after the title
• Click and type on the Program monitor to create another title

• Click in the empty space of the Layers list in the Properties panel to deselect text
• Check the Roll box in Properties panel
• Scroll (blue scroll bar) in the Program panel to edit text offscreen

• Note: If the scroll bar does not appear, deselect and reselect graphics clip in timeline

• Trim the graphics clip in the sequence to adjust speed

• Exporting

• In the Timeline window, set an In and Out point on your sequence.

• Make sure only one sequence is open in the Timeline panel

• Select the Timeline panel to ensure you’ll export the open sequence
• Open the Export Experience (keyboard shortcut: cmd + m)

• Explain that Quick Export should be avoided (doesn’t give control over export settings)
• Explain that it’s best to use Media File export and then upload to YouTube/Vimeo/social media/etc.

• Test your export before uploading
• Don’t accidentally leave yourself signed into your Vimeo, Twitter, etc. account on a shared computer

• Export settings for H.265 to screen in class or upload online (recommended settings, others may be possible depending on need, ask PPC for advice)

• File Name: Ovens of Cappoquin_Rough Cut 01_H265_[date]
• Location: SSDoc_[Student NetID]_Tech1, 03_Exports
• Format: HEVC (H.265)
• Video

• Frame Size: Full HD (1920 x 1080)
• Frame Rate: 23.976
• Aspect: Square Pixels (1.0)
• Click on More

• Target Bitrate [Mbps]: 10

• Audio

• Audio Format: AAC
• Codec: AAC
• Sample Rate: 48000 Hz
• Channels: Stereo
• Bitrate [kbps]: 320

• Preview to verify export range

• Adjust Range to Entire Source or Source In/Out as needed

• Click Export to export the file
• Explain it’s your responsibility to check files before screening
• Save project and log out of:

• Creative Cloud
• Any other websites or applications

• Q&A time - click this link during Q&A

After Students Have Left

• Copy the list of attendees from the PPC Tech Seminar - Attendance Sheet and send it to the course instructor.

End of Tech 1

Premiere Pro Tech 2 (120 min)

Before Students Arrive:

• Turn on all the computers
• Display this slide

As Students Arrive:

• Students log into the computers
• Students fill out the attendance form (goo.gl/1zj5wh)
  
• Students connect their external drives

• If a student didn’t bring one, create a folder on the Media Drive for the tech

• Students check the formatting of their drives

• If macOS Extended Journaled, they should use their drive for the tech
• If anything else (especially ExFAT), they should create folder on the Media Drive to work off of for the tech and see the instructor after the tech

Introduction and Overview:

• Introduce yourself (name, pronouns, and position/area)
  
• Explain that this second post-production tech seminar will cover best practices for:

• Found footage & archival media
• Transcription & captions
• Working with audio
• Effects & keyframing
• Log footage/LUTs

• Opting-out

• Opting out not encouraged during fall semester
• Anyone who has already taken S&S Film may opt-out after the first 20-30 minutes of overview
• Everyone welcome to stay and refresh or practice with documentary-specific footage

Found Footage and Stock/Archival Media:

• Show the Copyrights & Original Works page (More Info…; Pre Production; Copyrights, Music, Stock Footage) on the Kanbar site

• Explain that it’s important to review the Copyright, Clearances, and Original Works doc before using someone else’s work

• Ask faculty for guidance, the PPC can’t answer these questions

• Show where to find stock/archival media on the Copyrights & Original Works page

• Stock Footage & Image Libraries (for stock visual media)
• Sound Effect & Music Libraries (for stock sound/music media)
• Documentary Archival Information

• Explain that you need to copy any downloaded media onto your external drive before importing into Premiere. Otherwise, it’ll go offline when you switch computers.

• Review what the PPC can help with

• Yes:

• Ripping optical media (DVD, Blu-ray)
• Capturing tape-based media into digital files
• Screen recording
• Converting files & frame rates (including variable frame rate)

• No:

• Copyright questions, including fair use (ask faculty)
• Ripping from YouTube, Vimeo, etc.

• It’s a violation of those sites’ terms of service. Reach out to the person who posted the video and ask them to send you the file

• Installing software that isn’t already on a PPC computer

• We have to test the safety and compatibility of everything

Premiere Pro:

• Extract a fresh copy of the folder structure template (.zip file from last time or re-download from S&S Doc Knowledge Base)

• Rename it to SSDoc_[Student NetID]_Tech2

• Get the project file

• Double-click on the TechSeminarMedia desktop shortcut
• Navigate to the Adobe Premiere Project files only folder
• Copy The Ovens of Cappoquin_Spring 2025.prproj into SSDoc_[Student NetID]_Tech2, 01_Project_File
• Disconnect from the Tech Media server once the copy is done

• Launch Premiere Pro from the dock

• Log in to Creative Cloud in the pop up window

• Type “nyu.edu” in the email field, then use your NYU Net ID and password when prompted

• If someone else has already signed in, sign out by selecting the log out option from the Help drop down menu and then sign back in as yourself

• Relink media

• Open the copied project file
• Click Locate in the Link Media window
• Navigate to the computer’s Media drive, then Adobe Premiere Full Editing Projects, The Ovens of Cappoquin Project, 02_Media
• Click Search
• Click OK once the window says “Found a file that matches the selected criteria.” in the bottom left corner

• Transcribe a clip

• Switch to Text-Based Editing workspace (Window, Workspaces, Text-Based Editing)
• Open 01 Footage bin, then Interviews PT1
• Load R01_017_Esther_Interview_House_Tour_01.mp4 into the Source monitor
• Uncheck Follow active monitor in Text window
• Click Show Source monitor transcript (bottom left corner of Text window)
• Click Transcribe

• Language: English
• Speaker labeling: Yes, separate speakers
• Click Transcribe

• Edit the text in the transcript

• Click Edit active text (pencil icon)
• Click and type to edit the transcript

• Text file for paper edit

• Click the 3 dots, Export, Export to text file…
• Save the text file to external drive
• Open the text file to show how it matches up with transcript in Premiere
• Faculty can advise on the process of doing a paper edit with this transcript

• Build a Rough Cut from the Transcript

• Create a new sequence

• Name it 07 Working with Transcription
• Choose the Sequence Settings (Settings tab)

• Editing Mode: Custom
• Timebase: 23.976 frames/second
• Frame Size: 1920 horizontal 1080 vertical
• Pixel Aspect Ratio: Square Pixels (1.0)
• Fields: No Fields (Progressive Scan)
• Display Format: 23.976 fps Timecode
• Working Color Space: Rec. 709
• Sample Rate: 48000 Hz
• Preview File Format: QuickTime
• Codec: Apple ProRes 422 Proxy

• Highlight a section of the transcript in Text window

• Show the selection created in and out points in the Source monitor

• Insert (keyboard shortcut: comma) into the timeline

• Insert button below Source monitor and in Text window are the same

• Highlight a different section of the transcript in Text window
• Overwrite (keyboard shortcut: period) into the timeline

• Overwrite button below Source monitor and in Text window are the same

• Click Show Program monitor transcript (bottom left corner of Text window)
• Highlight a section of the transcript in Text window
• Delete the highlighted section (keyboard shortcut: delete)
• Show how the edit is automatically applied to the sequence
• Click the filter button in Text window
• Select Filler words from the drop down menu
• Show how the filler words are highlighted in Text window
• Click Delete button in Text window

• Choose Extract
• Click Delete all

• Show how filler words are deleted from the sequence
• Explain that these jump cuts may need to be covered with B-roll and an audio crossfade (will show later in this tech)

• Captions

• Switch to Captions and Graphics workspace (Window, Workspaces, Captions and Graphics)
• Open 05 Sequences bin, 03 Working with Audio sequence
• Click Show Program monitor transcript in the Text window
• Show the sequence has already been transcribed in the Transcript tab
• Click the Captions tab
• Click Create captions from transcript
• Choose Subtitle default, unless a distributor asks for something else
• Click Create captions
• Show how captions get their own track
• Play the sequence to show the captions change with the dialogue
• Trim the caption clips in the sequence to adjust the start/end time
• Click a caption clip to show its settings in Properties window, change formatting (Note: If the Properties window is not already open, you must double-click the caption clip in the timeline to open its settings)

• Font
• Size
• Position
• Fill
• Background
• Shadow

Opt Out:

• You may now opt-out if you took S&S Film last semester

• If you record in log, seek advice from PPC on applying a LUT
• Everyone is welcome to stay and refresh or practice with documentary-specific footage

Back to Premiere:

• Meters

• Show the location (to the right of the timeline)
• Play the sequence to show how they change with the volume of the audio
• Explain that it’s important to use meters when mixing audio to help the mix translate between headphones, speakers, and other setups.

• Dialogue should peak around -12 to -18
• Rarely want anything to go above -3
• Clipping (when the bars at the top of the meters light up) is a problem, it can damage playback systems

• Mute & Solo

• Explain that muting silences a selected track, whereas soloing silences all other tracks except the selected one
• Show muting & soloing a track on the timeline (M and S buttons)

• Show that they’re additive (if you mute or solo one track, it doesn’t cancel out any other mutes/solos)

• Mixing audio levels

• Clips

• Extend the height of track A1’s (“Dialog”) height until you see the clip volume line
• Click and drag on the volume line to raise and lower the volume

• Show how this affects the meters
• Adjust the volume of a dialogue clip until it peaks -12 to -18

• Open the Audio Clip Mixer (Window, Audio Clip Mixer)

• Show the faders in this window do the same thing as the clip volume line in the timeline

• Use keyframes (CMD + Click rather than the pen tool) on the clip volume line to adjust the volume of a single word or phrase

• Explain leveling volume like this is needed when someone’s speaking volume varies a lot to preserve intelligibility

• Show notching

• Use four keyframes to take out a sound

• Tracks

• Extend the height of track A6’s (“Music”) height to reveal Show Keyframes button
• Click Show Keyframes button and choose Track Keyframes, Volume

• Show this makes it impossible to move/trim clips

• Lower the overall volume of the music track

• Explain this is often helpful for music tracks, since most music is created loud enough it’ll overpower dialogue

• Open the Audio Track Mixer (Window, Audio TrackMixer)

• Show the faders in this window do the same thing as the track volume line in the timeline

• Return to Clip Keyframes mode to re-enable moving/trimming

• Audio Crossfade

• In the Effects library, search for “crossfade”
• Explain that Constant Gain is useful for fading in or out; Constant Power is best for fading between two clips (crossfade)
• Drag and drop the Constant Power effect between two dialogue clips

• Trim and reposition the transition to create smooth, continuous room tone

• Audio effects

• Open the Effects library
• Search for “DeNoise”
• Drag and drop the DeNoise effect onto a dialogue clip
• Open the Effect Controls panel
• Click Edit under the DeNoise effect
• Play the clip with the effect toggled on and off

• Adjust the Amount slider while playing to show how stronger denoising can cause artifacting (when the dialogue starts to sound garbled or distorted)

• Recommend exploring other effects such as Parametric EQ and Pitch Shift

• Essential Sound

• Open Window, Essential Sound

• Explain this is just another way to add and edit audio effects

• Select a dialogue clip in the sequence
• Click the Dialogue button to tag the clip
• Open the Repair section
• Check the box for Reduce Noise
• Open the Effect Controls
• Show that a DeNoise effect has appeared

• Explain you should work with audio effects whichever way you prefer

• Save project

• Blur and keyframing

• Open the 05 Sequences bin, then 04 Working with FX sequence
• Open the Effects library
• Search for “Gaussian blur”
• Drag and drop the Gaussian blur effect onto a video clip in the sequence
• Open the Effect Controls
• Adjust the intensity of the blur
  
• Keyframe the blur

• Position the playback head at the start of the clip

• Click the Add/Remove keyframe button (create start keyframe)

• Position the playback head at the end of the clip

• Click the Add/Remove keyframe button (create end keyframe)

• Set the Blurriness on one of the keyframes
• Play the clip to show the effect change over time

• Scale and position

• Explain every clip in Premiere has this effect built in, no need to add it
• Change the Position and Scale parameters to show what they do
• Keyframe the scale to create a slow zoom-in

• Position the playback head at the start of the clip

• Click the Add/Remove keyframe button (create start keyframe)

• Position the playback head at the end of the clip

• Click the Add/Remove keyframe button (create end keyframe)

• Increase the Scale on the start keyframe
• Play the clip to show the effect change over time

• Basic color correction

• Open the Effects library
• Search for “Lumetri color”
• Drag and drop the Lumetri Color effect onto a video clip
• Open the Effect Controls
• Adjust the Basic Correction settings to show how they change the image

• Temperature (warm/cool)
• Tint (green/magenta)
• Saturation (color intensity, grayscale)
• Exposure (overall brightness)
• Contrast (difference between highlights/shadows)
• Highlights (brighter parts of the image)
• Shadows (darker parts of the image)
• Whites (the absolute brightest part of the image)
• Blacks (the absolute darkest part of the image)

• Faculty provide more guidance on the creative aspect of color correction

• Log & LUTs

• Explain the camera (Canon XF605 camcorder) can record in log, which increases dynamic range but looks washed-out. Log footage needs to be normalized to not look washed-out. LUTs are a simple way to do this.

• Faculty can provide more guidance beyond applying a LUT (how to record in log, how to color grade log footage, etc.)

• Open the Sight & Sound: Documentary knowledge base category, Navigate to Post
• Under Supplemental Materials, download Canon Log 3 to BT.709 LUT and Canon Log 3 Practice Footage (Ovens of Cappoquin)
• Move the LUT and footage to external drive
• Open the 01 Footage bin
• Open the Media Browser
• Browse to and import the practice footage
• Replace the first two clips at the beginning of the “Working with FX” sequence with the Canon Log versions
• Apply a Lumetri Color effect to both clips
• Under Basic Correction, Input LUT, choose Browse…
• Navigate to and Open the downloaded LUT
• Adjust the Basic Corrections (exposure, contrast, saturation) to refine the effect of the LUT

• Copy & paste effects

• Click to select a clip in the sequence with a Lumetri Color effect from earlier
• Copy (keyboard shortcut: cmd + c)
• Right-click a destination clip in the sequence (one that doesn’t already have Lumetri Color applied)
• Choose Paste Attributes
• Check only the Lumetri Color effect in the Paste Attributes window
• Click OK
• Explain this doesn’t link the effects, changing the settings on one clip won’t change them on the other

• Adjustment Layer

• Explain Adjustment Layers are helpful for applying an effect to multiple clips without having to re-copy/paste attributes every time settings change.
• Open 03 FX bin
• Right-click in the bin
• Choose New Item, Adjustment Layer…
• Name the Adjustment Layer “Canon Log to BT.709 LUT”
• Drag and drop the adjustment layer onto the top video track in the sequence
• Trim the Adjustment layer to cover the entire sequence
• Apply a Lumetri Color effect to the Adjustment layer and add the Canon Log 3 to BT.709 LUT

• Speed changes

• Right-click a clip in the sequence
• Choose Speed/Duration…
• Set the speed below 50%
• Click OK
• Undo and repeat with Ripple Edit, Shifting Trailing Clips checked to show how it changes the duration of the clip and pushes others further down
• Play the clip to show how it stutters
• Change the Time Interpolation to Optical Flow
• Show red line at top of timeline, rendering required to play back the effect
• Select the clip in the sequence
• Sequence, Render Selection
• Play the clip to show the smoother motion

• Save project and log out of:

• Creative Cloud
• Any other websites or applications

• Final advice: If Premiere is behaving oddly, in many cases closing and reopening helps get things back to normal again.

• Q&A time - click this link during Q&A

After Students Have Left

• Copy the list of attendees from the PPC Tech Seminar - Attendance Sheet and send it to the course instructor.

End of Tech 2