• Adobe Premiere Pro

  4K / Apple ProRes(HQ) workflow

  Posted by Nina Baschi on September 26, 2014 at 4:05 pm

  Hello

  I’m the assistant editor on a documentary film and I’m currently trying to figure out the best offline/online-editing-workflow for the project.

  We are working on Premiere Pro 7.2.2 on an iMac(14,2) OS X 10.8.5, with Mercury Playback Engine GPU Accelaration and no third-party-hardware installed.

  We are mixing 4K-cinemascope-material (RED epic) with archive footage that was originally recorded on high band 720×567 and is now transferred to digital Apple ProRes 422(HQ) codec. The 4K-rushes have been transcoded to 2K-cinemascope proxyfiles in Apple ProRes 422 (no HQ), while we are using the original digital rushes of the archive material for the offline edit.

  Since I have no experience with batch-capture for online edit, I’m wondering what type to sequence settings we should use while working offline in order to not have a negative effect on the online-end-result. Does it even matter? My intent was to work on a 2K-ProRes 422(HQ)-sequence, since this would be a compromise between the 2K-proxyfiles and the ProRes 422(HQ) of the archive material. But knowing that we’re going the replace the 2K-proxyfiles by 4K-rushes, should we not also be working on a 4K-sequence? Or would that cause too much rendering for Premiere?

  Also, generally, can it cause any problems to mix simple ProRes422 and ProRes 422(HQ) on a sequence, if it’s a longer project with graphic effects?

  And if we export XMLs for the batch capture, will that take into consideration the effects (mostly cropping/added letterbox, positioned photos and single-frame-sequences) – or would be have to go over the whole online-edit again and redo the effects?

  Thanks a lot!

  -Nina

  Nina Baschi replied 11 years, 7 months ago 1 Member · 0 Replies
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