-
Project workflow which allows reduction
I am one of the thousands who are trying to move over to Premiere, after Final Cut 7. I am using CS6 on a MacBookPro 2013 running Mavericks.
My main concern is to start on the right foot when it comes to future needs of project management… I would like to know if there is something similar to my 2 FCP workflows below.
Before reading on, if anyone thinks I need to read through any documentation of tutorials, I will be glad to do so, and have been doing so. But I haven’t found answers to my precise questions, and thus I am here:
Workflow 1: Footage not compatible with Log & Transfer (SONY-shot 1080p60p AVCHD, for example)
Here I usually use Toast’s Convert option, for lack of a professional MTS transcoder. Toast converts to whatever codec and settings I choose.
I usually work with tons of footage, so I convert to ProRes PROXY.
This method makes project management in FCP not able to offline and re-capture, since conversion happened outside FCP. So I just manually reconvert the used sections of clips, again via Toast, to high quality ProRes 422 or HQ.
(I know this is makeshift, and if anyone has some light to shed on this issue, very much welcome. I have several issues with this workflow, like the audio track from Toast not playing well in FCP, and of course the inability to media manage efficiently as described above).
How would one proceed in Premiere?
I know that Premiere is happy to take all sorts of raw footage straight from the camera folders, BUT this seems to put at risk the original footage by accessing it all the time, plus the footage looks jaggedy in display window, and this also generates necessity to render further down the road. So I presume using Prelude to convert this footage is the best way?
Also, when I converted a clip using Prelude and brought it into Premiere, trimmed it to a fraction in a sequence and tried to Project Manage, making clips offline and removing the “fat”, the resulting project folder and media collected included the full clip, so there was no fat trimming. I looked into this and discovered a clip has to have a source tape defined to be able to be media managed / offlined without the original fat. But in Prelude I can’t find the option to set a clip’s source tape… Any info?Workflow 2: Footage compatible with Log & Transfer
In Final Cut, I Log & Transfer footage from the camera cards (folders, copied to HD). I choose ProRes PROXY, which is 1/3 of the size of regular ProRes 422. Later on, I am able to use Media Manager to reduce a project or sequence down to the footage used, removing unused fat within clips. Also, I am able to recapture (re-Log & Transfer) the offlined media at a higher resolution, ProRes 422 or HQ.
Can this be done in Premiere? It seems like Prelude is the way to go, but I haven’t found the exact workflow yet: as in Workflow 1 above, I need to know how to initially transcode footage properly so that later Project Management can reduce the sequence, preserving only what was used with some handles.Whew. Thanks a bunch for reading, and I hope some patient soul can shed some light 🙂
-
3 Replies
-
[Alan Langdon] ” Footage not compatible with Log & Transfer (SONY-shot 1080p60p AVCHD, for example)
Here I usually use Toast’s Convert option, for lack of a professional MTS transcoder.”I guess you haven’t heard of ClipWrap2 from divergentmedia.com. It’s main goal is the conversion of AVCHD footage…to professional formats.
[Alan Langdon] “I know that Premiere is happy to take all sorts of raw footage straight from the camera folders, BUT this seems to put at risk the original footage by accessing it all the time,”
Never work with the ONLY copy of the camera masters. Archive them, and then have a copy of them on your media drive.
[Alan Langdon] “and this also generates necessity to render further down the road.”
Only when you export. Playback requires no render. And rendering the final takes less time than converting all the footage at the beginning. And since your are working with the camera master files, the file sizes are very small compared to ProRes…even smaller than ProRes Proxy. So you are already saving tons of drive space.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Thanks for the specific replies regarding Workflow 1 (footage not compatible with FCPs Log & Transfer).
(I’m looking tino ClipWrap as I type 🙂
I agree, I much prefer to not even bother converting footage. One of the attractive aspects of Premiere is the ability to just drag in footage from different cameras.
Case scenario: what if you are working with 2 cameras: one shoots 1080i30, while the other shoots 1080p60, but you want the timeline/outcome to be 1080p30 ?Then, I guess I will use a deinterlacer effect for the 1080i30 clips?
many thanks!
-
Basically Premiere Pro will accept any footage on any timeline…so mixing your 1080p60 and your 1080i30 material on a 1080p timeline should not be an issue. You can select the interlaced clips and change the field interpretation in the bin, and you have the ability to deinterlace on the edit sequence as well.
However, if you don’t have a GPU that PPro can use in your MacBookPro (version CS6 still has a pretty restrictive OpenCL ‘white list’), these are the types of operations that will start to make your CPU grunt.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
Reply to this Discussion! Login or Sign Up