Just stumbled upon this as I need to prepare something similar. This is an incredible tutorial. I have two questions for you please... 1) When you drop in the final sequence of the movie into this newly created sequence that matches the broadcaster's requirements, will all the track keyframes that I painstakingly adjusted and tweaked also follow? 2) If I make any changes to my movie in the source sequence file, will those changes also be automatically updated into this newly created timeline? You are a God-send!!! Thank you in advance!!!
You have no idea how you just saved my ass. There is no video or article as thorough as this on the net. I never write comments on videos, but I had to because this was just so incredibly helpful. Thank you thank you thank you.
Can you do more of these types of videos for broadcast? Like safe margins, audio loudness rules, frame conversions. Some of these sports stations require 59.94 at 720p still...
Thank you so much for this tutorial. You have alleviated a tonne of fear about an upcoming broadcast project. I usually don't produce video for broadcast because of how complicated it seems... but this has given me some confidence. Thank you!
Thanks very much for this very informative and well done tutorial. I have a question. When I create this with a 30 second video that was shot at 23.97p in it's own sequence - and drag the 23.97p sequence into a 29.97p sequence, it works (just like your example). The runtime of the 29.97p sequence is still at 30 seconds. However, when I tried doing this with an 8min short, the runtimes are not the same. The runtime of the 23.97p (original) sequence is 8min, but when I drag this sequence into a 29.97 sequence, the run time gets lengthened to 8min and 16 seconds. It seems the conversion is not working. Does this mean that Premiere is not properly adjusting the frames to create the same runtime? Or perhaps because my 8min film is longer than 30 seconds, and the longer the piece is, the larger the discrepancy? Please advise, as this I am finding that shooting at 24p and then conforming to 30p for broadcasters is very common. Thanks very much!
I Just finished my first business commercial for TV Broadcast and this video was wonderful and very detailed!! Thank you all for creating this for us new video makers!!!
I was doing some more research today and tried this method and sadly the audio track keyframes DO NOT get copied/transferred over when importing the original sequence into the newly created sequence on the timeline. I wish you can prove me wrong however because it would be Godsend!
Very nice tutorial for getting everything to spec. Whether a studio requires it or not these are good things to know just in case. Makes total sense to calibrate for broadcast to avoid fluctuations in color/sound. Thanks for the info.
Hey, thanks so much! I really appreciate this. The slate, bars and tone, and wanting to work at 23.976 was exactly what I was looking for. Thanks again!
Wow...great video and great information!! One thing...the actual spot played at the end started out with an EXT shot of an office building. Was that cut from the final version?
Here you nest a 23.976 timeline into a 29.97 timeline. For networks requiring 59.94 delivery, is it common to nest 23.976 or 29.97 edits into a 59.94 timeline?
I apologize. I posted this about 5 years ago and since have not worked much with commercial delivery to TV stations (a lot more are requesting 59.94 now). But yes... that would likely be the case. Nesting the project into a 59.95 would mathematically duplicate frames to attain the 59.95 frame rate.
Great tutorial. I'm shooting my first commercial for broadcast television this week and was nervous about how it works. Thank you for this tutorial it really helped me out
Doesn't nesting a 23.97 into a 29.97 timeline just speed up the footage a bit and loose a bit of audio also? If not wouldn't it introduce a ton a jitter?
Not from 23.97 to 29.97. It just duplicates a few frames. Broadcast does that all the time. You get the jitter when you go from 29.97 to 23.97, since it has to remove frames.
Nice i didn't know what was for the hd bars. Greetings chinfat. I'm gonna start using illustrator cc, do you know who is making good tutorials like you?
This was SOOOOO helpful to me. I wonder if you might consider doing a tutorial on the luma/chroma limits for broadcast and how to get that right....thank you
I do cover that in my color grading episode. The scopes (specifically the vectorscope and waveform monitor) ae used for setting legal broadcast limits. ua-cam.com/video/PyhOXQGEIwo/v-deo.html
@@chinfat you didnt do this like you said yours was on general setup. since the bars and tones on tracks 1, I need to add adjustment to be color safe as well as audio safe so im trying to figure out this workflow
@@spacemountain3033 I'm not understanding the issue. I would recommend exporting out your master file (so all color and audio effects are flattened). Then place that master file into a timeline and then do the bars and tone.That's the way I usually do it.
Probably the most helpful video I've ever seen on UA-cam. No fluff, just excellent information.
Just stumbled upon this as I need to prepare something similar. This is an incredible tutorial. I have two questions for you please...
1) When you drop in the final sequence of the movie into this newly created sequence that matches the broadcaster's requirements, will all the track keyframes that I painstakingly adjusted and tweaked also follow?
2) If I make any changes to my movie in the source sequence file, will those changes also be automatically updated into this newly created timeline?
You are a God-send!!! Thank you in advance!!!
This is one of the best videos i've ever seen on YT. Thank you so much for making this information accessible!
always something new to learn on adobe! If I could like this video twice I would!! thanks for the lesson
Great tutorial, very helpful! I've worked with Premiere for more than 8 years and I'm stilling learning. thanks!
You saved my job Sir. Thanks a ton!!!
You have no idea how you just saved my ass. There is no video or article as thorough as this on the net. I never write comments on videos, but I had to because this was just so incredibly helpful. Thank you thank you thank you.
Can you do more of these types of videos for broadcast? Like safe margins, audio loudness rules, frame conversions. Some of these sports stations require 59.94 at 720p still...
Solid video. Came in to learn about converting 23.976 to 29.97 and came out with a few extra bits of knowledge. You are the man!
Thank you so much for this tutorial. You have alleviated a tonne of fear about an upcoming broadcast project. I usually don't produce video for broadcast because of how complicated it seems... but this has given me some confidence. Thank you!
how did it go?
Wow. Such a comprehensive vid.
Thank you.
Now I want a toothpaste pill...
Thanks very much for this very informative and well done tutorial. I have a question. When I create this with a 30 second video that was shot at 23.97p in it's own sequence - and drag the 23.97p sequence into a 29.97p sequence, it works (just like your example). The runtime of the 29.97p sequence is still at 30 seconds. However, when I tried doing this with an 8min short, the runtimes are not the same. The runtime of the 23.97p (original) sequence is 8min, but when I drag this sequence into a 29.97 sequence, the run time gets lengthened to 8min and 16 seconds. It seems the conversion is not working. Does this mean that Premiere is not properly adjusting the frames to create the same runtime? Or perhaps because my 8min film is longer than 30 seconds, and the longer the piece is, the larger the discrepancy? Please advise, as this I am finding that shooting at 24p and then conforming to 30p for broadcasters is very common. Thanks very much!
I Just finished my first business commercial for TV Broadcast and this video was wonderful and very detailed!! Thank you all for creating this for us new video makers!!!
I was doing some more research today and tried this method and sadly the audio track keyframes DO NOT get copied/transferred over when importing the original sequence into the newly created sequence on the timeline. I wish you can prove me wrong however because it would be Godsend!
Thanks! Now I don't need to go back to college. (I did tape in college, and still photography the last 33 years.) Old dog new tricks.
Very nice tutorial for getting everything to spec. Whether a studio requires it or not these are good things to know just in case. Makes total sense to calibrate for broadcast to avoid fluctuations in color/sound. Thanks for the info.
this was incredibly helpful!! thanks so much!!!
Hey, thanks so much! I really appreciate this. The slate, bars and tone, and wanting to work at 23.976 was exactly what I was looking for. Thanks again!
Excellent info. Much appreciated.
Great video! Was just looking for this.
Wow...great video and great information!! One thing...the actual spot played at the end started out with an EXT shot of an office building. Was that cut from the final version?
I need to render in HD PAL. Anyone able to help me out? :D
After reviewing one channel's specification, they want the program in YUV rather than RGB. I think it is YUV. Does Premiere handle this?
Thank you so much for this video! This was a big help!
Here you nest a 23.976 timeline into a 29.97 timeline. For networks requiring 59.94 delivery, is it common to nest 23.976 or 29.97 edits into a 59.94 timeline?
I apologize. I posted this about 5 years ago and since have not worked much with commercial delivery to TV stations (a lot more are requesting 59.94 now). But yes... that would likely be the case. Nesting the project into a 59.95 would mathematically duplicate frames to attain the 59.95 frame rate.
@@chinfat No worries about that. Your video is still helping people 5 years later. Thank you!
This dude is awesome. Great video!!!! Straight forward and informative.
Great tutorial. I'm shooting my first commercial for broadcast television this week and was nervous about how it works. Thank you for this tutorial it really helped me out
Awesome! Thank you for sharing :)
Immensely helpful video. Thank you for this!
Hello Chinfat. This video was very helpful. you provide very useful tips about premiere pro. thanks for doing this. :)
Thank you! This is so helpful
Doesn't nesting a 23.97 into a 29.97 timeline just speed up the footage a bit and loose a bit of audio also? If not wouldn't it introduce a ton a jitter?
Not from 23.97 to 29.97. It just duplicates a few frames. Broadcast does that all the time. You get the jitter when you go from 29.97 to 23.97, since it has to remove frames.
You are a fucking live saver man, thank you for this.
Thank you chinfat for your Tutorial. But What if my commercial is 1:30 second?
Nice i didn't know what was for the hd bars. Greetings chinfat.
I'm gonna start using illustrator cc, do you know who is making good tutorials like you?
+Alejandro Olvera Only one I know of is Lynda.com. But that's a paid subscription website. Great tutorials, but it costs money.
thanks for explaining timecode. I have a clearer understanding for industry standard.
As someone who has worked VTR- those tedious naming conventions are a life saver. lol Great video.
So cool!!!
This was SOOOOO helpful to me. I wonder if you might consider doing a tutorial on the luma/chroma limits for broadcast and how to get that right....thank you
I do cover that in my color grading episode. The scopes (specifically the vectorscope and waveform monitor) ae used for setting legal broadcast limits. ua-cam.com/video/PyhOXQGEIwo/v-deo.html
All I have to do is a frame of black lol
Great tutorial, now I just need to get out and shoot a commercial
Very helpful tut. Many many Thanks
Great video!
What a great tutorial. Thank you for all the information.
very nice and helpful..
WHY DONT THEY JUST SEND YOU A SEQUENCE PRESET?
Because they hate me.
Could you do more of these please! Thank you!
that's pretty cool
thank you!
Is it a bad idea to put audio effects like hard limiter on master track because that will effect the tone?
Not sure. I'm not really a sound mixer. This tutorial was more about prepping a project as a broadcast commercial. What part/timecode did I do that?
@@chinfat you didnt do this like you said yours was on general setup. since the bars and tones on tracks 1, I need to add adjustment to be color safe as well as audio safe so im trying to figure out this workflow
@@spacemountain3033 I'm not understanding the issue. I would recommend exporting out your master file (so all color and audio effects are flattened). Then place that master file into a timeline and then do the bars and tone.That's the way I usually do it.
Well done!