CS3 P2 Project Settings again

[Vince Becquiot]

The DVC Pro HD footage will be properly scaled as long as you interpret the footage as HD anamorphic (1.33 PAR). You can indeed work in these settings (you will get a render bar obviously).

Don’t trust the Premiere preview for quality. You’ll need an external HD monitor. Sorry, I haven’t used Raylight in a long time.

Vince

[Mike Jennings]

Time base should be 29.97fps, not 30. And you might try emulating the frame sizes and aspect ratios from the default presets.

But I have to ask — why in the world would you want to do it that way? It’s a terrible workflow. You have a crappy choice of codecs for preview renders (Well, at least on Windows), and the processing is 8-bit RGB so no YUV processing. And you’re scaling everything you bring in so it will take forever, you get no realtime performance, and consume tons of disk space.

What’s the upside?

–Mike Jennings

[Jake Hawkes]

That is why I am asking the question. What is the best solution. I have worked with many of the options and am at the point where there are five different ways to skin this cat.

I can use DV Raylight to transcode the project or output AVI’s…I could use the PP preset for DVCPro HD 1080, but worry that effects and color space reduce lower quality results…I can create my own uncompressed timeline to attempt to get a better color space for applying effects…?

At any rate the question is what is the best Premier Pro settings/solution (I’ll add workflow) when setting up your timeline for editing a rough cut going out to Uncompressed/Intermediate for AE, and then on to BlueRay, SD, and web.

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[Vince Becquiot]

You always run the risk of going over 8 bits in color correction, but as long as you have good external monitoring you should be able to catch it and work around it.

I personally have nothing against working in 10 bit uncompressed, in fact I would recommend it, but only if you have the hardware and storage to support it.

If you work with a lot of compositing, you pretty much have to.

Vince

[Mike Jennings]

Use the Premiere Pro settings now. They’ll process YUV and high bit depth when possible (some of the older filters force it to 8-bit (but who uses those anyway?) — the filters written expressly for Premiere Pro like the color correctors won’t degrade the image. (Note that your source is 8-bit, BTW.)Also, you’ll get realtime performance, dynamic link support and so on. At this point there’s no advantage to Raylight or anything else.

If you’re really hell-bent on processing uncompressed, simply go into the Video Rendering panel of the Project Settings and set the codec to QuickTime (Mac) and choose your codec, or choose an uncompressed codec on Windows.

Oh yeah — There’s a setting in the Render Panel of the project settings called “Use Maximum Bit Depth”. If you check that, and everything in the “signal path” supports it, it will do its processing in 32 bits, or at least the highest bit depth available given what’s in the timeline. It’s a bit slower and will hamper realtime previewing, but you wouldn’t get that anyway if you change the render codec.

Finally, why render out to After Effects at all? Just import your Premiere Pro sequence to After Effects and you can drag the sequence in as a layer, unrendered.

–Mike Jennings