Post Production on Tour


Alex Macleod TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

I’m writing this article after finally settling back into my office after a busy few days on the Kitplus Tour 2019. The tour saw me travelling from Manchester to Glasgow then onto Bristol, then finally returning back to Manchester. Quite a few miles travelled. But totally worth it.

I chose three topics for the workshops which I presented. The first I created to help editors at any level save time; not only when beginning an edit, but also when delivering that edit - taking into consideration the ever pressing need to deliver content across multiple platforms.

The main points to think about here are standardising your workflows and creating templates. I demonstrated a few techniques that I use on a daily basis, and a few that I picked up from working with large organisations such as HBS who I worked for at the World Cup last year.

The upshot for anyone reading this article, is to create as many pre-made folders and sequences as you think you’ll need in a Premiere Project - then save it as a template - and use it as your starting point each time.

For my second workshop I decided to focus on the topic of effectively working with colour. Increasingly as an editor I am faced with clips shot in one flavour of log or another. The result of which is that without work. these clips look washed out, are low in contrast and generally very desaturated, and of course that’s the point. But, unless you’re handing your locked edit onto a colourist, you’re going to need to know how to do something with them.

Premiere Pro has some fantastic colour tools built in via the Lumetri panel and also has all of the video scopes you would ever need in order to ensure that not only do your clips look fantastic when they leave your suite - but that they adhere to any technical requirements which your client has stipulated.

The goal of this workshop was to give the attendees an overview of one particular scope - namely the rgb waveform. I use this scope for two main purposes. Firstly, to make sure I’m getting the most from a clip in terms of luminance. I also use this scope in conjunction with a recorded grey card. Shooting a grey card when setting up a shot allows the editor to balance a clip when using the rgb waveform, and neutralise any colour casts which may occur in mixed lighting.

The workshop went over all of these points and more, moving on to highlight some of the newer features available in Premiere Pro CC 2019 such as the Hue Saturation curves, which allow you to very easily select one colour range from a clip, and increase its saturation, making it pop out and catch your audience's attention.

For my third workshop I chose to focus on Adobe’s newest application Premiere Rush, and I offered an overview as to what the app is and what it can do. Premiere Rush was launched last year IBC in September, and has been gaining huge traction ever since.

The app is perfect for video content creators who need to shoot, edit & deliver content in the shortest time possible, and it is very good. The workshop covered the desktop version of the app, although as I pointed out to the attendees there, it’s available on both iPhone and (hot off the press!) Android.

Rush’s streamlined UI is deceptive in its simplicity and during the course of the workshop I demonstrated how to create a new project, import and trim clips, how to manipulate and mix sound.

One particular feature I love in Rush is its ability to use and customise motion graphics templates (.mogrts) which come straight from After Effects. This boosts the production value of an edit massively, and also allows consistency across all content released by social media teams.

Rush also allows you to add colour grades using its built in Lumetri panel. Once your edit is done, not only can you very easily change your deliver aspect ratio from 16:9 to 1:1 and 9:16, but you can also quickly publish your content straight to your desired social media platforms via the share panel. Increasingly, the audience is moving to social media platforms, and this is where Rush really shines.

As part of our attendance at the Kit Plus tour 2019 we have come up with an offer of up to 30% off our Premiere Pro / Premiere Rush training courses. To access this discount use the promo code ‘KP 2019’ when booking or enquiring.


Tags: iss137 | mediacity training | adobe | premiere pro | kitplus show | glasgow | bristol | Alex Macleod
Contributing Author Alex Macleod

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

    GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

  • ERA - Adobe Anywhere - at BVE 2015

    ERA - Adobe Anywhere - at BVE 2015

  • Matrox Mojito at NAB 2014

    Matrox Mojito at NAB 2014

  • Mac Mini support from Sonnet Technologies at NAB 2019

    Mac Mini support from Sonnet Technologies at NAB 2019

  • ERA at BVE 2014

    ERA at BVE 2014

  • ERA Avere at BVE 2014

    ERA Avere at BVE 2014

  • Editors Keys at ProVideo2011

    Editors Keys at ProVideo2011

  • KitPlus Show 2015 Highlights

    KitPlus Show 2015 Highlights

  • Glasgow TOUR!

    Glasgow TOUR!

  • Look Listen Experience in Glasgow

    Look Listen Experience in Glasgow

  • Official TOUR Video 2013

    Official TOUR Video 2013

  • Bristol VFX at IBC2011

    Bristol VFX at IBC2011

  • Holdan on BroadcastShow Tour May 2013

    Holdan on BroadcastShow Tour May 2013


Related Shows
  • The KITPLUS Show discussing streaming from ingest through to delivery

    The KITPLUS Show discussing streaming from ingest through to delivery


Articles
NAB 2019 Highlights
Paul MacKenzie The NAB Show in Las Vegas never loses its capacity to surprise. With NHK already transmitting in 8K and the Tokyo Olympics just a year away, this might have been the year that 8K equipment prices descended from the stratosphere to just plain expensive. The main trends at NAB 2019 were an increasing focus on HD-HDR, Media-over-IP and 4K. 8K was pretty low key except for a very promising demo on the Sharp stand: an extremely compact 8K camera at an impressively low price point: $4,000. Shooting at 30 frames per second to an internal card and using a prosumer-style Olympus lens, it looked very much an entry-level product but one with phenomenal potential for any videographer looking to work with very large display screen sizes.
Tags: iss137 | finepoint | nhk | media-over-ip | canon xa50 | xa55 | huddlecam | jvc | gy-hc550 | panasonic aw-ue-150 ptz | samsung | 8k signage | hdr10+ | livetrakl-20 | mediakind | Paul MacKenzie
Contributing Author Paul MacKenzie Click to read or download PDF
Lighting with Gurdip Mahal
Ian Muir Gurdip Mahal’s credits for lighting design are impressive. Including major Awards shows such as BBC Sports Personality of the Year, Children in Need, as well as The Voice, Top Gear and Crystal Maze, his CV would almost certainly include at least one show with which any one of us is familiar. In addition, he has applied his own particular style to performances by major artists such as U2, Beyonce and Lady Gaga.
Tags: iss137 | ac entertainment | gurdip mahal | lighting | stage lights | light assistant | Ian Muir
Contributing Author Ian Muir Click to read or download PDF
State of the Nation - If Winter Comes
Dick Hobbs - new Here’s an important fact that might get lost in all the noise of the moment. HBO’s Game of Thrones, which is relentlessly covered in the press as well as being talked about by its fans, is not actually terribly popular. The opener of the current (and last, thank goodness) series attracted a consolidated audience of about 3.5 million – that includes 2.7 million who watched the first showing at 2am, plus those who watched it at a more civilised hour, or who recorded it. Informed comment seems to be that those who watch on catch-up at some time in the following week or so might add a million more.
Tags: iss137 | gof | games of thrones | 8k | hdr | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
Cinegy Channel Playout
David Wright Canis Television & Media is a UK-based specialist broadcast services company, providing its clients as a one-stop shop for everything from production facilities to asset valuations to traffic control. In response to growing demand from its clients, Canis identified a need for channel playout facilities.
Tags: iss137 | cinegy | canis media | David Wright
Contributing Author David Wright Click to read or download PDF
Digital Video Tech Innovation - The Game Changer for Live Sports
Lorna Garrett Since the first live television sports event in 1936, when the Olympics was broadcast from Berlin, the sports industry has been an early adopter of the latest technology. The goal continues to be to deliver compelling content around the globe, now to multiple viewing platforms. It’s become a must-have that’s embedded in fan expectations and broadcasters’ marketing strategies.
Tags: iss137 | garland | gpl | liveU | sports | lu600 | hevc | lu300-hevc | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF