-
RED EPIC workflow in Premiere
Hey Everybody,
So I just finished filming my short with the Epic. I’ve worked with RED footage a lot before, but mostly with stuff geared for the internet, so it was always AppProRes 422 HQ, 2k with some 4k mixed in for punch ins, then exported or compressed to H264 depending on the final destination.
For this, I want to submit to festivals, so I’d like it to be able to be screened at a theater (just in case it comes to it), but I want to make sure I don’t screw anything up and waste hours upon hours going back and fixing mistakes I made or even starting from scratch (in regards to the workflow).
My main point of question is the order I do things. Normally where I work we use REDCINE to take the 4k and transcode it to 2k, then edit. If we punch in or require 4k, I go back and pull those files (this is mainly for FCP7).
Now for Premiere, I’ve heard you can use proxies, edit in a lower res form for performance reasons, then relink back to the 4k raw when you’re done for the master. But when I look up proxies I see a lot of references to FCPX. I’d really just like to know, if I want to edit natively in Premiere, what’s the most efficient way to do it, without having to manually go back and pull higher res clips after I’m done with my edit. It’d be great to relink to 4k raw, then go to color grading, etc.
Sorry if it’s a bit naive, just want to make sure I do it right the first time around.
Thanks everybody,
Scott -
1 Reply
-
Just edit in 4k with a reduced resolution in the program monitor. That is how most Red projects in Premiere Pro do it. Don’t transcode. Makes it easier.
Head to RedForums for some more discussion on this topic with others. There is an adobe section.
Cheers
Dave
———————————————————————————————————
David McGavran, Adobe Systems Incorporated
Senior Engineering Manager Adobe Premiere Pro
———————————————————————————————————
Reply to this Discussion! Login or Sign Up