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Transcoding Footage
I stumbled into my last project with not much time to plan, and while still learning Adobe Premiere Pro. Since I was filming in different formats, I chose to transcode through Media Encoder all the footage to ProRes Proxy.
Now I’m wondering if that’s they right way to go (I have to film more, and my drives are already filling up between the raw and the PRR), and wondering if I’ve done things horribly inefficiently.
My footage is:
– GH5 log and non-log, with one scene filmed accidentally 3840×2160 and the rest 4096
– C300 log, 4096×2160
– One second camera that was HD just because of circumstances
Some iphone footage, mostly 3840×2160 and one thing I probably won’t use at all is 588×320.[Initially, a lot of this footage was just test footage, but now that I won’t be able to film much more with my subject, I’m trying to shape what I have, hence the mess.]
I don’t mind some extra work up front (or in this case, mid-stream). I haven’t done much assembling or editing at all, and want to start. I’m okay with dumping the transcoding I’ve done so far and starting fresh – it’s all learning. Given that, I’m curious for advice on:
– going with generating proxies from within the project so as to easily link later and have really small files (I’m okay with not seeing the full quality till later, and know I can access it if I need to)
– sticking with ProRes Proxies.
– Raw is definitely not an option here.I’m leaning toward the first option, so mostly checking if there are strong arguments against. I’m also curious if it’s better to do proxies from within Premiere or as an ingest through Prelude.
If this covers already well-trod territory, I understand if there’s no room for more advice! But even after watching Lynda.com tutorials, my understanding is that this really breaks down case by case, so if my situation evokes a response in you, I’m eager to hear it.
Maria Luisa Gambale
Vera Donna Media, LLC
Brooklyn, NY -
4 Replies
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If you are aiming to do an OFFLINE/ONLINE workflow with proxies, you need to use the Premiere Pro way of doing it. It will use Media Encoder, but in a way that allows you to relink to the masters with a click of a button. The way you did it won’t do that. And it’ll make relinking impossible, and lead to needing to over-cut everything.
Sorry, you’ll need to redo this, using the Adobe way of making proxies to work with.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Okay, that make sense. So, 1 questions. I’m planning on going out 4K. If I import various flavors, but majority 4K, and then create proxies that are about 1/4 of the size (1024x 540), then do I create sequence settings that match the proxies or that match what I want my output to be?
Maria Luisa Gambale
Vera Donna Media, LLC
Brooklyn, NY -
I think this is a helpful video to follow: https://www.youtube.com/watch?v=-b8VtZX62XA
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Thank you. Totally watching that. It seems like YouTube is the place to go for answers.
Maria Luisa Gambale
Vera Donna Media, LLC
Brooklyn, NY
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