[Chris Wright]

hmm, I wouldn’t say they were film per say. I would say shot on high end phototube camera (for that time) and then graded magenta into shadows or red channel in curves. you can tell that the highlights were mostly skin tone line and whites somewhat still there. lumetri in premiere has a 2 way grader and curves built in. you can shoot with a tiffen diffuser for softness to get that ‘look’

[Chris Wright]

bad cable

[Chris Wright]

nothing is destructive if its a guide layer. you don’t have to use luts for things, they are simply luma and chroma changes you can do by hand. you can make your own technical luts that work even better than manufacturer’s luts with better detail and skin tone line. luts aren’t smart, they don’t know what exposure and iso you use. they only care about white balance. and yes, linear light affect blending modes differently. fxguide has many good reads on that.

[Chris Wright]

i’d dynamic link to AE’s distort preserve upscale. its a combination of bicubic, reduce noise, and detail. makes very nice resizing. also, I’d use its Camera-Shake Deblur effect which helps you recover blurry footage caused by camera shake.
and warp stabilization for shaky video.(do that one last, it also exists in premiere)

[Chris Wright]

do you have studio? the free version doesn’t have it.

[Chris Wright]

Select them in the bin, right click and choose Modify>Interpret footage.

quote is from arri rep.

2944×2160 is a ProRes format with black padding left/right, the active image is 2880×2160.
Did you shoot with anamorphic lenses all the time?

Currently there are two way depending on your lens choice:
a) 4:3 2.8K with anamorphic lenses
– set your project resolution to 2048×858
– set Input scaling preset to “Scale full frame with crop”

Since the 4:3 is way too wide for 2.39 we need to do two things: crop & scale.
for the 4:3 2.8K shot set sizing “Zoom” to 1.142 (2944/2578) and “Height” to 0.5 to squeeze the image.
Now you can edit your 2048×858 next to this shots.

b) 4:3 2.8K with spherical lenses
(you will loose image information since the image is 1.8x the height of your timeline (2048×858)
– set you project resolution to 2048×858
– set Input scaling preset to “Scale entire image to fit”

Now we need to re-fit the image
for the 4:3 2.8K shot set sizing “Zoom” to 1.79 (858/2160*2880=1144; 2048/1144= 1.79)
By adjusting you can reframe on the vertical axis (entered value is pixels).
Again, you can edit your 2048×858 next to this shots.

The supported workflow allows attachment of Proxies with other frame sizes & PAR (pixel aspect ratio) combinations that are divisible by the Full Res clip (for example, 1920×1080 1.0 PAR Full Res and 960×540 1.0 PAR Proxy or 1440×1080 1.33 PAR Proxy), but other parameters such as fielding, frame rate, duration, and audio channels must match. Mismatched audio channels results in warning dialogs and are not allowed.

https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html

good walk through
https://blog.frame.io/2017/03/20/premiere-pro-proxies/

[Chris Wright]

awesome! now that you’re in an actual professional program, hehe no more premiere, you can learn about ACES color management. It’s pretty neat. Let me know if you need any thing else. you’re gonna love the chip chart auto color and split vectorscopes, tracking, etc. when you get 400mpbs codec, let us know, we’d love to see the footage.

[Chris Wright]

non budget would be craigslist. there are ways to get professional actors on non-sag wages 0-low but you still need to buy them food.

[Chris Wright]

keep in mind, premiere doesn’t support arri wide gamut directly. once you import your graded footage from resolve back into premiere, it will lose any work you did if you graded higher than rec. 709 in resolve. i.e. wide gamut, rec. 2020, p3, etc. All your work will be color clipped and show artifacts. So, if grading in a large colorspace, finish editing in resolve, there’s no going back.

[Chris Wright]

keep in mind, premiere doesn’t support arri wide gamut directly. once you import your graded footage from resolve back into premiere, it will lose any work you did if you graded higher than rec. 709 in resolve. i.e. wide gamut, rec. 2020, p3, etc. All your work will be color clipped and show artifacts. So, if grading in a large colorspace, finish editing in resolve, there’s no going back.