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Organization is key to a successful post-production workflow. This course picks up where the end of your shoot leaves off and before editing begins—when you need to import, organize, and log your footage. Jason Osder shows how to import all different types of assets, from stills to soundtracks, and how to sort and annotate your footage in Adobe Premiere Pro. Plus, learn a few tricks involving Bridge and Prelude (like batch renaming) that will cut your logging time in half.
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As we've discussed, one of the things that doesn't happen inside the Premier Pro interface is actually transferring footage from a card. To do that we need to be in Prelude. There's actually a lot of scenarios in this area and its worth discussing them. One is the actual card. This could happen in the field, on a laptop where prelude very strong and it wouldn't have to be this SD card, it could be a lot of different types of cards. Of course, this one plugs right into my laptop, whereas most of the others require an external reader.
But, it doesn't end there because we know that we often transfer our cards to a holding drive, before we bring them into our editing system. So we're all familiar with these drives, and clearing off cards, but not actually editing. Just transferring the whole package. We're actually going to look at transferring off a sort of a jump drive used in the field. One more note, because we've got some equipment here and we are talking about organizing. This is a fine system, but I want it super pleased to see that I only had FireWire connections when I'm working on the new laptop that supports USB, but doesn't have a native FireWire 800.
Of course we know there's converters for that, but there's a lot of converters and cables these days. My little tip for organization is to get a bag for inside your bags so that this stuff's not floating around all the time. It's easy to find your FireWire and your phone charger, but really what I really is, there we go, our little converter. Let me plug in and then we'll work on transferring this media.
As you can see, my field transfer drive has been mounted and I'm still running adobe prelude from our last movie. Let's switch over to Prelude, and you see it's still a blank space. In order to access any card or any drive, we hit the ingest button. This brings up a window that, in many ways, resembles the media browser inside Premier Pro, but we've got some better choices. If I click on the Field Transfer, I see that this is the drive that has been used to transfer a whole bunch of P2 cards.
I click on a card I want to look at or transfer, and I can preview the card itself right inside Prelude. Now keep in mind this will work the same on an actual physical card, a jump drive like I have, or even an archive of a card that's sitting anywhere on a network drive. You can see that dynamically, Prelude has already realized that this is a Panasonic P2 card. It's gone right to the video to preview it. I can look at the full file directory, but then I'm going to see the package that includes all of the helper files, and whatever else is in that structure, whereas because it recognizes what type of media it is, it shows me just the video.
Now I have a ton of control to bring in media partially without copying everything off of the card, or card archive, if I don't want to. I can check the clips that I want to bring in. I don't have to check all of them, but in this case I want to transfer the whole card so I'm going to. Similarly, if I don't want to bring in the whole clip, I can actually use in and out points. And you can see I've used i and o to mark just the section of the clip.
Again, that's not my purpose today. I want to bring in this whole card, but you can imagine having a card with a very long interview and all you need is one or two bytes. So you just go in, select what you need, and that's all you transfer from the card. We'll clear these back out. Because we have everything on the cart selected, some additional things are going to help us here. All of the powerful transfer choices in Prelude are found on the right hand side here. Starting with transfer. I want to make a quick point here. If I did not check Transfer Clips to Destination, I would still be adding them to the Prelude project, much like we add clips in Premiere Pro.
They're just references if I don't click this. That might be fine if all I was doing was organizing and I was actually going to edit off of my external drive. But in this case, it's not an external editing drive, it's just a field transfer drive. My purpose is to clear out all of these cards, and then send this drive back out into the field. So I do want to transfer clips to a destination. Now, of course, I would go about locating exactly where I want to do my editing.
Were going to leave it on the desktop which is something we often do when were training, but not really when were working. But we'll use desktop and just make a note, this should be your main media editing location. So were going to choose it and then you can, but don't need to do a sub folder, and again that's going to keep a structure intact that resembles your card. You can call this anything you want, but it's already taken information from the metadata that's based on the date.
I actually, in this case, want a single footage folder that has everything, so I'm not going to make sub folders on this transfer. Here's the last important point. Should the package be verified? And it can be done by a size comparison or a bit by bit comparison. Meaning, when done, Prelude will compare what's on the original card or drive to the copy and tell you if there's a problem. That's what makes this better than just a drag and drop.
Well that along with transcoding, which we're going to look at in the next movie. The final step is to hit the Ingest button, your clips will be added to the prelude project and your files will be transferred to the desktop. At the end, Prelude will compare the size of the package to what was originally on the drive, and give you a message if there's any problem. You can't do this inside Premier Pro only in Prelude.
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