Premiere Pro: Matching Cameras & Composit Elements in AE
 In this colour correction tutorial, Andrew Devis shows how to use the tools in After Effects both to get excellent colour matching result in After Effects and also to provide information that can be copied into Premiere Pro to more quickly and intuitively achieve better colour matching in Premiere Pro than can easily be achieved with the present set of tool in Premiere Pro (recorded with CS5.5).
Andrew shows how to use both the right tool and specific colour channel views to visually match the channels to achieve the best results quickly and effectively. Use this to match footage from different cameras as well as matching elements to be composited into your composition so that they look as if they really belong together. |
This is a follow on tutorial to Premiere Pro: Matching Cameras and shows how to use the After Effects information and copy that into Premiere Pro.
| Related Articles / Tutorials: | | | | |
Adobe Premiere Pro
Premiere Pro: Matching Cameras
Play Video
In this tutorial, Andrew Devis shows one approach to matching footage from different cameras. Sometimes, as editors, we receive footage from our clients that is from different cameras which may not have been set up in the same way. This can lead to a jarring effect when viewing the footage back as you switch between cameras which can distract your audience - a very big foe-par! But, matching cameras can be a difficult and frustrating process.
While the solution Andrew demonstrates isn't instantaneous and will require time to master, once mastered, it will enable you to quickly and effectively solve problems to (at the very least) ensure your audience isn't distracted when you switch cameras.
Tutorial, Video Tutorial
|
| | | | |
| | | |
Adobe Premiere Pro
RE:Match Non-matching Cameras in Premiere Pro
Play Video
In this tutorial Andrew Devis demonstrates a relatively new plug-in by RE:Vision Effects called RE:Match and how it can very quickly and accurately deal with the very common problem of non-matching cameras in Premiere Pro.
A typical approach to dealing with say a white balance issue would be to apply the fast color corrector and use the white balance picker, but this can be very hit and miss, while RE:Match deals with the whole image using another image or clip as the reference to match too.
This very powerful effect can save a great deal of time for an everyday problem and so earn its cost back very quickly as well as giving excellent and fast results.
There is another tutorial showing how this effect works in After Effects as there is a slightly different way the two applications deal with reference images.
Tutorial, Video Tutorial
|
| | | | |
| | | |
Adobe Premiere Pro
Premiere Pro CC: 108 Multi-Cam Synched by Audio
Play Video
In this tutorial, Andrew Devis looks at the next version of Premiere Pro and shows how it can now automatically synchronise footage in a bin by various options including timecode and AUDIO!
Andrew uses multiple clips and allows Premiere Pro to synchronise these clips using audio and shows us in real time how long this process takes based on a 48 min talk and 11 clips!
Andrew also goes on to show some of the changes that have taken place in the headers for video and audio tracks as well as a change in how to make multi-cam edits in the up-coming next version of Premiere Pro - valuable information for anyone working with multiple cameras.
Tutorial, Video Tutorial
|
| | | | |
| | | |
Adobe Premiere Pro
Premiere Pro CS6 Techniques: 90 Export 5: Media Encoder 2
Play Video
In this second tutorial on Media Encoder, Andrew Devis shows how to create preset groups for customers to ensure that you always export the same file types and minimize the risk of choosing the wrong presets when outputting multiple different sequences. Andrew also shows how to customize a preset to meet specific needs such as different frame rates or frame sizes etc and save that preset and add it to a preset group for the customer you created it for. Andrew then shows how to quickly select a smaller portion of the sequence so that you can test your output settings on a much smaller section of the sequence you want to export.
Tutorial, Video Tutorial
|
| | | | |
| | | |
Adobe Premiere Pro
Premiere Pro CS6 Techniques: 86 Export 1: Dynamic Link
Play Video
In this tutorial, Andrew Devis shows how to get a sequence from Premiere Pro into either Encore or After Effects using the 'dynamic link' function. Dynamically linking a sequence to either Encore or After Effects will mean that any changes made to the sequence in Premiere Pro will be automatically updated in the program it is linked to (Encore or After Effects). Andrew demonstrates both a simple 'drag and drop' as well as a menu driven approach to setting up dynamic link.
Tutorial, Video Tutorial
|
| | | | |
| | | |
Adobe Premiere Pro
Premiere Pro CS6 Techniques: 89 Export 4: Media Encoder 1
Play Video
In this tutorial, Andrew Devis shows how to use the Media Encoder to render out several different versions of a Premiere Pro sequence using easy to find and select presets. Andrew shows how to add sequences without even having to have Premiere Pro open and then change the preset to another one of your choice and add extra outputs to suit your customers' needs.
Tutorial, Video Tutorial
|
| | | | |
| | | |
Adobe Premiere Pro
Premiere Pro CS6 Techniques: 91 Export 6: Media Encoder 3
Play Video
In this third tutorial on Media Encoder, Andrew Devis shows how to create and use 'Watch Folders' which are folders linked inside of Media Encoder which 'watch' for any footage item that is dropped into them and then encodes that footage item to any other output type of your choice. Andrew shows how to create and set up your watch folders as well as explaining some of the limitations of watch folders as they presently work.
Tutorial, Video Tutorial
|
| | | | |
| | MORE |
| |
|
Reply
Like
