By Elliot M
Hoping someone can help with this edit workflow question:
I currently shoot video on Canon DSLRs (in H264 MOV format), and edit on a late 2009 iMac (2.8ghz i7 processor, 16gb memory).
The films I make are mainly for web rather than TV broadcast, and beyond basic colour grade / tidying up, have minimal effects added (no CGI).
Until recently, I used Final Cut Pro 7, using FCP's Log & Transfer function to import and edit footage in Pro Res 422 format.
Having just moved to Premiere Pro CC 2017, I'm trying to figure out the most efficient workflow with the best resulting image.
Should I import and edit in native H264 MOV? Or ingest and edit as either Pro Res or DNxHD?
If Pro Res or DNxHD, what's the best way to ingest (or import / transcode)?
I've been reading mixed things via Google; mainly Adobe-related articles explaining a native workflow, vs various articles sponsored by transcoding software companies, saying that transcoding will have a better result.
Any thoughts would be much appreciated.
I recently shot a music video with the GH4(in 4k) and GH2(1080) all the footage looks really good in preview playback but I notice a Gamma change with the .mov GH4 files if I open in FCP or VLC? I've had this problem with RED files and I just continued editing with the darkened gamma change because the files seem to correct themselves upon export. With that said I have a couple questions with how I should continue with this project or if there is a better way.
My workflow plan right now is to Transcode first all of AVCHD GH2 files with 5dToRGB to PRORES 422HQ
After that I'll import the PRORES files into FCP and drag a clip to the timeline and match the sequence settings to the clip because the final deliverable will be in 1080.
My question is with the 4k footage and if this workflow makes sense? Should I import the .mov files directly into the 1080 sequence? or should I transcode the .mov files to 4K PRORES? I know importing the .mov files will slow me down because I'll have to constantly render but I don't want to lose image quality in conversion.
My concern is the gamma will change and I wont know the true image quality until after I export. I just want to keep the images looking like they are.
What would be some of your workflows when working with the same type media?
I've been looking everywhere, but I can seem to find anything solid on squeezing anamorphic footage on Premiere Pro, only found methods for FCP. If anyone knows the best method of squeezing 1.5x and 2x anamorphic footage on Premiere Pro, that would be greatly appreciated.
THere must be a way to do this! I just want to get slow mo. I'm on a 25p timeline and I've been given 60p footage to incorporate. Its all silent. I've dropped the 60p (59.94) into premiere and slowed it down 41.71%. Seems a bit of a bodgy way to do it. Is there a better way? (like in virtualdub? Ideally you could just hack the header info to change the time signature.
The 1080p image quality gains from a 4K GH4 file are well documented, but I've got a basic workflow question to extract the maximum IQ from my 4K files destined for FullHD output:
I've got a basic two cam interview I shot with the GH4. I'm wondering how to maximize the extra information when outputting to 1080p. Will I have equal sharpness and color information gains if I edit on a 1080p timeline and output to 1080p as if I edit on a 4K timeline and output to 1080p? Is it the same effect in the end?