Premiere CC, RED EPIC Workflow

[Chris Borjis]

This is the best place to find or ask:

https://reduser.net/forum/forumdisplay.php?26-Adobe-Workflow&order=desc

[Tim Kolb]

You can do any of the methods you propose…it’s a matter of what you want out to master.

1. You can edit the footage full screen and then output to 1080, simply scaling (and or cropping as you wish) in the final export.

This would allow you to master higher resolution files in 4K or UHD later and have the resolution to do it.

2. You can create an HD sequence and edit the footage by placing the footage directly on the sequence…and you’d have lots of room to scale/crop, and generally recompose shots.

This would limit you somewhat down the road if you ever wanted to export a 4K or UHD version as the master frame size is now HD unless you copy/paste all the edited material into a full-resolution sequence and then go back and undo and zoom/crop work that would show up as images that aren’t full frame.

In either scenario, no up-front transcoding of the media would be required, and in the case of the RED metadata, you would be able to manipulate that information (for clips already in use on the timeline) right up to making the master exported version.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Lukas Dreser]

Tim,

Great reply! Thank you so much for your time.

I started organizing and syncing everything and I went with the 1080 timeline option. It’s good to know that I was pretty much on track with the approach.

I am dealing with some additional issues now, mostly since there was no on board scratch audio recorded, I had to sync manually and use “merged clips”.

The headache begins Everytime I either insert or overwrite a merged clip into the timeline from the source monitor, it un-links them. Not a biggie, just a hassle.

The other issue is a bit more serious though, because i cannot access the “source settings” through the merged clips. Which hinders the workflow when we go to color (wanted to be in RedLog color space)….

Maybe Adobe will release an update with that feature supported. We can only hope….

[Tim Kolb]

The trick with “source settings” is that on a merged clip, PPro doesn’t automatically know which source you mean…there is more than one in a merged clip.

You could work on a given R3D clip on a “scratch” timeline without the merged audio…and in theory, the metadata change should take place for each instance of that master clip…I would expect it to also apply to the merged clip.

…just a thought.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Lukas Dreser]

Tim you would think that it would, but unfortunately it doesn’t update on the merged clip..:(

[Lukas Dreser]

I came up with a workaround on the merged clips source settings for now.

1. This works best with single video track.
2. Export an EDL of your sequence, make sure the “use source file name” is checked.
3. Import that EDL back into the project, it will import a folder into your project bin, open up the sequence inside
4. All footage should be offline at this point, however the EDL pulled clips by their source file names, so after re-linking to the original media, highlight all clips on timeline, right-click – source settings, and voila

Hopefully this helps somebody,

[Andrea Hofmann]

Hi,
I’m a bit late on this thread ;), though I would love to know
where in Premiere can you tick “use source file name” ?
via EDL Export there isn’t unfortunately much to choose from…

And another question @ Tim regarding what you mentioned about the
format of the timeline:

“… unless you copy/paste all the edited material into a full-resolution sequence and then go back and undo and zoom/crop work that would show up as images that aren’t full frame.”

When will Premiere be able to convert the timeline format fairly easily? (e.g. as in “Offline” in HD and “Online” in 4K?)
Thank you
Kind Regards
Andrea