New to PREMIERE from FCP 7 —Mixing HD & SD & FPS within a project

[Al Levine]

That depends. Where is the final product going? Web? Broadcast? Presentation?

I have my department do everything at ProRes HQ 23.976 in Premiere.

But again, it depends on your deliverables.

[Harrison Gruber]

Final delivery specs are always 1920×1080 h264 23.976. We don’t have any major coloring or fx so we’re skipping HQ and working in straight ProRes….

[Al Levine]

You sort of answered your own question.
Work in that. Scan and pan your SD.
Maybe ProRes.
Then down convert when you deliver.

[Harrison Gruber]

ok but if i downconvert how can i deliver in HD? A little lost here.

[Al Levine]

Are you getting offline media that was shot in HD but is down converted to SD to edit with?
In that case you eventually need to get the HD media and do an online, replacing the media.
If the content was shot in SD and there is no HD master you need to blow it up.

[Walter Biscardi]

Set up an HD timeline to the specs you want to export in. We always start with the AVC-Intra presets because those are square pixel HD presets.

So if you want to end up with 1080p / 23.98 choose the 1080p/23.98 AVC-Intra as your Sequence preset. Change the Video Previews from MPEG i-Frame to Quicktime > ProRes to get a cleaner render.

When you’re completely done with the edit, export from Premiere Pro or Adobe Media Encoder to H264 23.98.

You can very easily mix and match SD / HD in the same timeline in PPro. Scaling is MUCH better than what you’re used to in FCP. You can also easily mix and match frame rates in the same timeline in PPro.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

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[Harrison Gruber]

Thank you Walter!!

[Harrison Gruber]

One more quick question. When I go to change the Video Previews from MPEG i-Frame to Quicktime > ProRes those options are greyed out in the settings tab. Any thoughts on how to change these settings locking me into MPEG i-FRAME. Thoughts?