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Working with OnLocation

From: Premiere Pro CS4 Beyond the Basics

Video: Working with OnLocation

Adobe OnLocation is really a remarkable application and it comes with Premiere for free and it really is going to become, I predict, a very pivotal part of the Adobe video experience. Basically, what Adobe OnLocation allows you to do is it allows you to connect your camera to your laptop and take that laptop with you in the field, and as you can see here it says, No video input found. Connect a camera to your computer, blah, blah, blah. So basically what it allows you do is basically use this as a monitor.

Working with OnLocation

Adobe OnLocation is really a remarkable application and it comes with Premiere for free and it really is going to become, I predict, a very pivotal part of the Adobe video experience. Basically, what Adobe OnLocation allows you to do is it allows you to connect your camera to your laptop and take that laptop with you in the field, and as you can see here it says, No video input found. Connect a camera to your computer, blah, blah, blah. So basically what it allows you do is basically use this as a monitor.

Now, I'd imagine there is probably dozens of applications that allow you to use your computer screen or your laptop as a video monitor. It's a very cost effective thing to do. But what's special about OnLocation is that OnLocation allows you to record direct to disc. So let's say for example, instead of recording to a P2 card or a Flash Drive or a DVD or whatever else you got going on, FireStore, it allows you to record straight from your camera to your computer. Now, there are zillions of benefits to that.

Number one is it allows you to use these great Waveform and VectorScope tools, so you could actually check your footage while it's being recorded. If you go to the Window menu, there's also this SureShot Camera Setup and you could use this to basically run your camera through a series of tests to make sure it's calibrated right, that you're getting the right color and luminance values. Also, right when you are capturing these clips, you can put a metadata that will go with those video clips throughout the workflow. So if you go from OnLocation, you record the clips here and then you take those clips into Premiere for video editing, all the metadata that you setup here will go with those clips.

Now another cool benefit is I could go down to the Shot List here. This is where the clips go once they are recorded. When you click this little button which is Add shot placeholder, so let's say I know that I'm going to shoot some scene like Bar Fight, blah, blah, blah, whatever. And I would probably really have like scene 14b or whatever right there instead of description of the clip name. But let's just say that that's what I set. Well, what happens is is I can actually when I shoot this scene, then it will say instead of having the offline indicator, it will actually have a thumbnail of the video clip.

So I can make sure that on the day when I'm shooting that I shoot all the clips on my shot list and then I can put metadata in those clips as well. So you could imagine really the power of what's going on here with being able to bring in clips directly at the scene. And not only that, you can also check for continuity errors. If we break for lunch, for example, I can look at the last clip that I shot and make sure that everybody is still wearing the same thing, they put back the jewelry or the fangs or whatever else we have going on their costumes, that everything is still contiguous from the last scene.

Later in this chapter, we will look at Adobe's Story for preproduction. You could only imagine how powerful things can be that Adobe has this great complete workflow from preproduction to production with OnLocation and then of course postproduction with all of the other applications. I can picture that being a very efficient workflow.

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Premiere Pro CS4 Beyond the Basics

82 video lessons · 20075 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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