Forum Replies Created

  • Rachel Pearl

    January 5, 2021 at 12:43 am in reply to: Best Codec for 2.8 anamorphic screener

    Thanks! The frame size is 2.8K anamorphic – not sure that was clear. I will test both codecs out.

    Thanks again!

  • Rachel Pearl

    November 29, 2020 at 2:47 pm in reply to: 2.8 Anamorphic issues in Premier

    HI,

    Update, I figured out the issue with the “squished” frames – I have to interpret anamorphic footage in Premier.

    I still have the issue with the editor having the clip present one way in the source window and then going back to the squished state in the timeline.

    Does this have to do with his timeline settings?

    thanks!

  • the ProRes files have 8 tracks of audio and the DNx files have 2 tracks.

    Would this cause the problem? If so, is there a work around? They really have to link it back to the ProRes QT’s with the 8 tracks of externally recorded sound.

    thanks,
    Rachel

  • Rachel Pearl

    May 11, 2017 at 4:39 pm in reply to: interchange between different versions of MC 8

    thanks!

  • Rachel Pearl

    November 14, 2016 at 8:24 pm in reply to: workflow for Alexa and Premier Pro CC

    thanks!

    As yet I have not been told how we are finishing (not ideal, I know) so I want to go with the workflow that gives the most options.

    A few questions:

    1. Where can I find the new offline/online workflow for Premier?

    2. If we convert to ProRes proxies, will they maintain the meta data to match back to the original camera footage?

    3. How do folks sync and cut in Premier? I usually use merged clips. Will this work with the process of trancoding and merging to match back to the original files.

    Thanks!
    Rachel

  • The footageis ProRes 29.97, 1920×1080. The sequence is configured to that as well

    It’s progressive scan.

    Does that help?

  • Rachel Pearl

    October 26, 2015 at 5:14 pm in reply to: Trouble using Merged clips when exporting to Protools?

    Thanks Guys.

    He is getting tripped up trying to match back to the original external audio files and I can see where that might be an issue, especially on this production since the sound recordist didn’t label much and when he did it was wrong.

    A question though, how can he link back to the original audio files using this workflow without my having to do a deep dive for him?

    Thanks for the link to your tutorial. I’m sure this will help me in the future.

    Rachel

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