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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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Now that we're comfortable with Bridge, I want to look at another standalone program called Adobe Prelude. Prelude has a lot of powerful functions, but they all take place right at this stage of a video project, right at the stage that we're learning. Importing, preparing to edit, and organizing. That's why it's called Prelude. It's like the first little part of a story that comes before the big part of a story. Prelude is great when you actually have to move the media.
Using the media browser and the project panel inside Premiere Pro, you're really just making links to video that sits on a drive, and never moves. That's different than traditional work flow such as transferring from a card in the old, log and transfer, in Final Cut 7. If you do want to have a workflow that transfers from a card, Prelude is the answer, it gives you all of those choices. One of the advantages to transferring cards with Prelude, as opposed to just dragging and dropping their contents, is when you use Prelude, the package is verified after it's copied.
So it's an extra layer of insurance. Secondly, you don't just have to move the media, you can also transcode the media. That gets at the issue of native or transcoded workflows. We know that Premier is very powerful in working with native footage from a dslr, red camera, or etc. But you don't always want a native workflow. If you're mixing a lot of formats, or have different sizes, you may want to standardize. And Prelude is very good at batch processing those transcodes to work in a transcoded workflow.
You can do a lot of logging, right in Prelude. Including adding markers and sub clips, which we'll learn a lot about, in Premiere, as well as Prelude. One of the beauties of using Prelude to do this logging work, is someone with less experience, will have an easier time doing this first stage work, without learning a full nonlinear platform. Everything you log, all of the markers and sub clips you make in Prelude, pass directly to Premiere.
Finally, Prelude is actually able to do rudimentary rough cuts. I actually wouldn't even call them rough cuts. I would refer to them as string outs, or assemblies. But once you've done your logging, you can throw some clips together. And again those rough sequences will transfer directly into Premiere pro. Before we're done here, I want to open Prelude, just so you can take a look at the interface, which I think helps to understand what the program's good at. We're just doing a practice project, so I'm going to save it on the Desktop.
Briefly, I want to point out the windows that are here, which include a project window, similar to what you see in Premiere, a timeline, but very simplified. One single monitor to watch video, and some places to work with markers. I think the real key to understanding, Prelude are actually the buttons up top that sort of highlight some of the things you can do.
Prelude is very good at ingesting, very good at logging. You can also makes lists out of the markers that you log, and finally you can rough cut. That's a great summary of what gets done in Prelude. Now, let's move forward, doing some of this exciting work in the Prelude interface instead of Premiere.
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