Premiere Pro Plugins Archives - Blog
UPDATE: After I was hired as editorial consultant on DEADPOOL, one of the first things I did was create a custom 2-monitor Premiere Pro template for post production.
This was a solid starting point for all the editors and assistants before they customized it further to their liking. I designed the workspace with THE PANCAKE TIMELINE already active and a basic bin structure to keep the project organized right off the bat.
I also arranged the panels in tabbed groupings that made logical sense for our workflow and it also allowed quick full screen maximization with the tilde (`) key.
There are a limitless choice of options when you set up a workspace…this custom template was the most efficient and nimble option for our specific needs.
You can download the Premiere Pro template we used on the film below…
DOWNLOAD: VASHI’S DEADPOOL PREMIERE PRO TEMPLATE
Until next time…
As the editorial consultant on DEADPOOL, I spent 9 months crafting the post production workflow used for the edit and also trained the entire post production team in both Premiere Pro and After Effects. Very early into the cutting, lead editor Julian Clarke asked me if we could add camera shake to certain locked-off, static shots.
This can be accomplished in Premiere Pro by manually animating the frame with keyframes or by using a 3rd party plug-in…but I wanted a real-time solution without using a plug-in. I reached out to Jarle Leirpoll , an amazingly talented editor who also creates free Premiere Pro presets utilizing the included effects built into the software. His JARLE’S PREMIERE PRO PRESETS VERSION 3 includes 98 free presets that cover both video and audio.
Jarle created 7 custom handheld camera presets for DEADPOOL that could be applied directly onto clips and played back in real-time. Jarle shot footage with real cameras and mapped both the position and rotation of the handheld footage into his presets. It’s organic and real. It’s information captured by a human being and not the result of random computer generated data like the wiggle expression that After Effects would create. The difference between human and computer generated data may not look different viewing the keyframes…but their is an inherent honesty and palpable naturalness to ACTUAL human handheld movement compared to computer generated randomness.
The 7 presets are split into 2 groups with different functions. 3 presets can be used on footage with resolution that matches the sequence settings. These 3 presets will resize the footage to 104% so the edges of the frame will not show black as the footage is being moved around. The other 4 presets are for sequences where oversized footage is dropped into a smaller resolution timeline. This was the workflow for both GONE GIRL and DEADPOOL where 6K / 5K / 4K / 3K footage was edited inside a 2K sequence. This extra padding of resolution allows the handheld camera presets to move the footage WITHOUT resizing the source footage. This is the great benefit of shooting at a resolution larger than your final output as both stabilization and reframing can be accomplished without losing any resolution.
Download: JARLE’S DEADPOOL HANDHELD CAMERA PRESETS
and use these Deadpool Premiere Pro Presets on your projects for free.
BTW these presets work in all versions from Premiere Pro CS6 and later…
Until next time…
Download the VashiVisuals Extreme Widescreen templates.
One of the most post popular posts on VashiVisuals over the last 2 years is The Ultimate Aspect Ratio Guide which shows 70 film frame sizes covering the history of cinema. It also includes 70 FREE widescreen templates in 1080 and 720 resolutions for filmmakers. HERE’S THE LATEST UPDATE…
In the past few years, 2K / 3K / 4K / 5K / 6K cameras have surged onto the filmmaking scene, so I have created 56 FREE templates (available to download from this blog post) to cover all these new frame sizes and resolutions. They are all PNG files (with transparencies) that can be imported into any NLE/VFX software and then dropped onto your full resolution footage to create cinematic framings.
Here are the 8 aspect ratios I’ve chosen: Read more…