[Ht Davis] “Close but not quite right yet. “
The original poster asked why his 1GB file turned into a 40GB file. As you said, it sounds like he exported with Match Sequence Settings, thus Premiere exported his file at a higher bitrate than was recorded in camera, which therefore is the reason his file is 40GB.
[Ht Davis] “Why not start by blowing it up to an AVC-intra first in media encoder. This will put your color data back in, and blow up the frames”
The Nikon D5200 records a 4:2:0 color space, it’s impossible to put the color back in. AVC-intra will be easier to edit with, but that color information was thrown out at the source.
[Ht Davis] “Start with AVCintra100, and you can add a second job for simultaneous render, do an AVCIntra50 (this is a proxy format, should have about half the size of 100 and will edit nicely)”
I’m not sure why he would need an offline/online workflow unless he is editing on an old machine. Any relatively modern machine running Premiere CS6 should be able to edit Nikon DSLR footage or AVC Intra 100 without trouble. An offline/online workflow is going to take unnecessary time and storage space.
[Ht Davis] ” I suggest using Compressor, as the H264 algorithm does a better job of fitting to your bit rate settings while keeping quality.”
This may be true for Compressor 4 but Apple’s Compressor version 3 is widely recognized as having an awful implementation of the H.264 codec.
@ericstrand11