[Paul Carlin]

The compression used in the EXRs may make a difference. PIZ and ZIPs require less bandwidth, but are heavy on processing to decompress in real time. Uncompressed requires lots of space on the drives and lots of bandwidth, but very light on processing. You should do tests using all three types of compression to see which works best for your setup.

You can also use a proxy workflow. Build DNxHR 4444 proxies, or even half size EXR proxies for real time playback. When it comes time to render, Resolve will automatically pull from the full res originals. For color, it’s very hard to see a difference between 4K and 2K.

[Paul Carlin]

iZotope RX 10 Advanced is the ultimate tool for cleaning up audio and isolating speech, but it comes at a price of $800. DaVinci Resolve’s built-in Fairlight is also a comprehensive DAW with many of the same plug‑ins for cleaning up and repairing sound.

[Paul Carlin]

Same advice as everyone else. Get the most you can afford. I would prioritize memory over processors. If what you can afford isn’t good enough, then make proxies of your sources and work with those.

If you want to save $300, look into using Davinci Resolve for editing. Then when it comes time to do color, you are already set to go. Also, the audio tools in Resolve are top notch.

[Paul Carlin]

Also, the ability to copy transitions from one layer to another is a long standing request of mine with BMD. Feel free to add your vote by requesting this as well. This would make step 4 much easier.

[Paul Carlin]

A easy approach would be:

1) Use the Solid Color generator to make a slug .5 seconds long on a new layer above what you want to cut up.

2) Make this slug into a Compound Clip. Call it “SLUG”

3) Hold down F11 to overwrite this new compound clip from the media pool onto the new layer to create a long string of slugs the length of your timeline.

4) With Autotrack Selector enabled for the layers you wish to chop up and the new layer, press the down arrow followed by the keyboard shortcut for Razor (Command B). Repeat this until you reach the end of the timeline.

5) Alternately, you could export an EDL from the new SLUG layer and use the previously mentioned Preconform method.

Personally, I have written Python scripts to do this inside of BBEdit. If this is your chosen career, I would seriously look into BBEdit and the use of Text Filters for all sorts of time saving ways of manipulating EDLs. Perhaps ChatGPT can write the Python code for you? 🙂

[Paul Carlin]

FiLMiCPro allows you to shoot 4K 60fps using ProRes on an iPhone 13+. However, it records 4:2:0 Rec709 (no Log), so you will loose color definition.

That said, You should look into shooting with what you have, and then running it through Topaz AI to upscale and clean it up. Very inexpensive AI driven software. Topaz labs dot com.

[Paul Carlin]

Set the VTR timecode to Internal and Regen. Make sure you are reading the LTC and not VITC. If that doesn’t work, check to make sure you are sending a compatible signal (i.e. NTSC to a DigiBeta).

[Paul Carlin]

Ann Bens reply is the correct answer. Please take the time to watch the YouTube video to learn about proper color management.

Adobe likes to keep Premiere Pro simple to use for those who do not wish to learn the difference between Gamma and Gamut. However, they are being forced into the world of color management kicking and screaming. I do not agree with the Color Space Override fix, as I would have thought that a color space override would be a way of forcing the application to ignore the embedded color space tags and use a different interpolation. But, according to the YouTube video above, it applies a display render transform to compress the HDR into SDR. Perhaps the YouTube video is wrong… I do not know PPro well enough to know who’s correct.

I would have assumed that if the footage is tagged correctly, then Adobe would apply a color space transform to the source to match the sequence working space (which I presume in this case was Rec709). However, if it worked this way, then you would not have posted here to begin with.

Regardless of all that, I have found that iPhone Rec2100 HLG footage comes it hot even when properly color managed (for example, in a professional application like DaVinci Resolve). I see that this is no different in Premiere Pro. If you apply a slight gamma curve to the footage it will bring it in line with expectations.

[Paul Carlin]

Chris’ suggestions are solid. I would like to add one more suggestion to look into using DaVinci Resolve which has the toolset to handle these situations.

[Paul Carlin]

Short answer… no. Buy the Apple adapter. Daisy chain the old unit through the new unit if you want to save money.