In my day job, I produce TV commercials for local car dealerships in Northwest Illinois and various cities in Indiana. On a monthly basis, I deliver over 40+ spots to cable and network providers which are shot and edited a few weeks prior to the start of the next month. If I have commercials I need to produce for the month of January, I will shoot and edit them in December so that we can have them running at the beginning of the month. Aside from the production schedule of the monthly commercials I produce, I use an editing workflow that allows me to be efficient and maintain a level of speed that can handle unforeseen circumstances. I’m going to detail my editing workflow in Premiere Pro and hopefully provide some tips and insight into delivering multiple commercials to multiple vendors.
Setting up the project & gathering assets
Before I shoot a month’s worth of commercials, I use a template project that has folders and assets which I know will factor into the edit. I change the scratch disks and project save location so I can keep my original template project intact; or I use PostHaste, depending on the project. From there, I add more folders that I may need for auxiliary assets like third party motion graphics and more. I also make sure that I have logos and monthly artwork from each brand I deal with at my agency. Once I’ve set up my project for the month, I wait until the shoot day before I do anything else.
Storage & Preparing the footage
When I’m shooting commercials for clients, I alternate between the Panasonic AF-100 and Sony PXW-X70. These cameras give me best of two worlds, which are interchangeable lenses and small but powerful broadcast cameras. Both cameras record with the AVCHD codec. The X70 also has its own proprietary codec which is the XAVC codec. When it comes to bringing footage from either of these cameras, I typically transcode the clips into Apple Pro Res or Pro Res HQ. Although Premiere can take most formats natively, with the hardware I have available (and based on past experiences) I choose to play it safe using a codec meant for editing. Before I do that, I always make sure to backup the SD card in two locations in sparse disk bundles using the Create Disk Image app.
Once I’ve taken care of storage and encoded my footage into Pro Res, I move the footage to my network based RAID and import it into my project file so I can begin building sequences.
Building a selects sequence
I place all of my footage into a sequence so that I can sort out the best takes, as well determine which clip goes with what dealership. I use timeline markers to group my clips together so that I can use the Markers panel and search for dealerships quickly. Once the selects sequence is built, I proceed to use the pancake timeline technique to build my main commercial sequences.
Structuring main commercial sequences & adjusting for time
Using the pancake timeline technique, I put my selected sequences on top of my main commercial sequences, and drag clips into their appropriate places according to what is written in the script. From there, I add voice-overs, branding graphic assets, running footage, and more to time out each commercial to 30 seconds. If my footage, voice-overs, or other assets don’t meet that length, then I trim until everything does. Once I have my main commercials assembled and timed out, I add motion graphics and finishing touches like color correction/grading.
Motion graphics & finishing
For motion graphics, I tend to use After Effects… unless I’m not looking for intricate animations. Lately, I’ve been using it for text animations as well as graphic overlays, especially since the update to Premiere Pro CC 2014.1 introduced the feature of Render & Replace. With that function implemented, I can now use dynamic linked After Effects comps and render/unrender them inside Premiere when I want to. In terms of finishing, I level the audio to broadcast specs and fix color balance and/or apply a simple color treatment, along with a Sharpen filter.
Once I have motion graphics and finishing locked, I begin exporting my main commercial sequences to Media Encoder to get them to my broadcast vendors.
Exporting from Media Encoder and Delivery
Inside of Media Encoder, I set up my commercial sequences to be exported in a variety of codecs. Most of my broadcast vendors take either H.264 or Pro Res HQ. With Media Encoder, I use presets I created prior to encode one sequence to multiple Quicktime movies.
Once I have exported my commercials into various Quicktime movies, I run one of them through Sorenson Squeeze to encode to WMV for brand compliance. With my Quicktime movies ready for broadcast delivery and my WMVs ready for brand compliance, I deliver each of them to their appropriate vendors and brands. In regards to compliance, if they approve it, then my broadcast deliver is cleared. If it is disapproved, I fix whatever mistake I have and re-export it for compliance and broadcast until it is correct.
As you can see, it pays to have a workflow that allows me the space to be creative, but at the same time meet pressing deadlines. After each month, I examine what worked best, what can be improved on, and if other tools can be added to allow for both efficiency and higher production value. In 2015, I plan on looking for tools and techniques that will allow me to be even more efficient and creative. Below is one of my finished promos for this month.