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Gerard Tay

Gerard is a Film and TV editor with six years of good broadcast editing experience working largely on local and regional broadcast projects, some corporate videos and commercials. Some of his works include the TV series "Fighting Spiders", which won Special Prize at the 2009 Seoul Drama Awards, and was nominated for various awards at the 2009 Asian Television Awards. He also worked as post technical supervisor on a few reality series namely "The Challenger:Muay Thai" which aired on AXN. Visit Gerard's website.


Some Power Titling Tips in Premiere Pro

01_opt_drag_dupI’m going to be very frank. Some people like to do titles. I’m not crazy about titling. Not the boring slap on titles at least, and I will not wax lyricals about the beauty of the Sans Serif fonts when paired with a Bordeaux or Burgundy. But static titles is an inevitable part of an editor’s life, so here are some titling tips in Premiere that hopefully will come in handy to some of you guys.

1. Option Drag to Duplicate Titles

In case you missed out on reading about this new feature, the 7.0.1 Premiere Pro update back in July 2013 added a very handy feature. Now when you option drag a title, the title will be duplicated, and you can tell because the title will add a “copy 01” suffix at the end of the clip name. This means that a new master clip for the title will be created and linked to the duplicated title, allowing you to change the title without changing the first instance of the title. Previously, if you opt dragged a title, it only created a new instance of the clip in the timeline, but not the master clip, so when you edit the new clip instance, the previous title will be affected. So now with the 7.0.1 release, you can opt drag to duplicate titles.

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1. Direct Link to SpeedGrade

01_DL_SG

When Adobe acquired Iridas in 2011, it was a huge move to shore up one of the key shortcomings in their video suite - color correction. Trying to incorporate a full featured DI color correcting application into something that Adobe users can feel comfortable in is not going to be an easy feat, partly because color correction has traditionally targeted a rather niche market. So while Adobe champions the native workflow, SpeedGrade targeted the high end feature film industry, and this meant that many of us who worked with native formats in Adobe Premiere Pro had issues getting our edits over to SpeedGrade. In the June release of SpeedGrade, Adobe addressed the first of core issues that many Mac users had, and they opened up SpeedGrade to Mercury Transmit. This meant that users no longer needed a workstation class Nvidia Quadro graphics card installed in a PC for external reference monitoring. With this release, the integration of SpeedGrade has finally come full circle, and users no longer need to transcode to storage intensive DPX for grading and SpeedGrade will now boast one of the widest format support of any dedicated color correction application. Heck, even the entire timeline from Premiere Pro goes straight into SpeedGrade!

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A while back I wrote about exporting multichannel Quicktime files from Premiere Pro CS6. With the launch of the new Premiere Pro Creative Cloud (7.0), things have changed, so this post an update on some essential new features when exporting multichannel Quicktime files.

Multiple Output Assisgnment

In Premiere Pro CC, you can set multiple output tracks from a single track in Premiere, so if you have your SOTs, VOs, Music and SFX on separate tracks, you can map those to an output track without having to perform an audio mixdown to get your full mix.


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Exporting Multichannel Quicktimes in Premiere Pro

Usually, for final submission of the project, we are required to submit a Quicktime with multichannel audio. So depending on the broadcast station, they may want the main mix on channels 1 and 2, dialogue only on channels 3 and 4, and undipped music and sound effects on channels 5 and 6. The audio tracks are also known as a "split tracks", and they are used for many purposes, such as foreign language dubs, and also for the overworked promo department at the TV station to use for cutting promos from the program submaster.

By default, Premiere Pro sequences do stereo outputs, so you cannot export a Quicktime with split audio tracks with the default setting, and for some strange reason, you cannot set that sequence to export multiple audio channels. So I am going to show you how to just this.

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