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ARRI Alexa and CS6 Workflow
I will be working on a project that will be shot on the ARRI Alexa. I’m thinking of cutting it in Premiere Pro CS6 seeing how it “should” be faster than FCP7. The other side of this is that I’m pretty unfamiliar with PPr so I might actually work faster by just bringing it into FCP7 and deal with the rendering time afterwards…sigh.
Would I be correct in telling the DP to shoot in ProRes 422 HQ (final output will be for broadcast television, it’s a 30 sec. commercial)? Is ProRes4444 or ARRIRAW necessary in this situation?
When it comes to grading, I “cheated” last time and just applied a LUT and then did a little more correction with Colorista 2. Given the insanely tight deadline for this project, I’m thinking of doing the same unless someone tells me otherwise. I’m not technically a colorist but there is no time to send it out to another post-house. If there’s an easier way please do tell.
I’m completely new to the ARRI workflow. For all I know, there is a much easier way to do things but it appeared to work last time. If any of this sounds completely wrong, please help a fellow video editor out. Much appreciated, thanks!
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2 Replies
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ProRes 422 HQ will be fine for your situation, especially if you have as tight turnaround. RAW workflows, while technically superior, give you only marginal gain unless you are doing crazy things with your footage. Unless you are planning on doing a lot of composting or doing huge stylistic looks on your footage, stick with the 442.
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I would personally recommend shooting ProRes4444 for this situation. While you probably don’t need ArriRaw, the Alexa can go to 4444 on board so why shoot less quality? The space requirement isn’t that great and it will playback realtime off any drive. If you need Alexa’s slomo, just go down to HQ for those shots. FCP and Premiere Pro can both edit any of the ProRes formats just fine and in realtime.
Cheers,
-AG
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