Shane Ross
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Set up a 2180p project (UHD). Edit in that…output that. If you want an HD version, just downconvert your exported UHD master.
Now, depending on how much footage you have, and if you system can manage it, you might need to utilize the offline/online workflow…but maybe not.
Shane
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There is a way, but it involves cheaing. Hackintosh. I have a three year old one that still runs strong, cost me $1700 to build, and specs match iMac Pro. Before the end of the year, I’ll upgrade some hardware (including logic board, RAM, processor, GPU) for around $1500 and be a machine that’s between an iMacPro and new MacPro. But cheaper, better expandibility, cheaper, and cheaper.
Shane
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You MIGHT want to look into Boris Continuum Complete…it comes with Mocha, and that will track a shape you draw, perfect for blurring. Something that would take me 2-3 hours to do, manual tracking, takes me…15 min? 20 min?
As for your tracking…why not render your blurs when done? Rendering them will then make PPRo reference that single render file, instead of gobbling resources to try to play back in RT.
Shane
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I’m fine with paying $10 for PS. My kids are VERY used to it, and it’s one of the requirements for a college class one is taking, so…
Shane
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Wonder share makes a free video editing app. VERY simple, very easy. Showed it to my kids when I wanted to ween them off PPro, as I don’t want to pay for it (only PS). They found it delightfully simple for their needs…perfect for one, in fact.
Shane
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DELETED…posted in wrong place.
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[Samuel Frazier] “Thanks for that, but this is the final export and desired format for a film festival.”
Then you shouldn’t be doing that with the proxy footage at all. You need to relink back to the camera masters/full res masters (click of a button) and THEN do your online and output. Never master with Proxy footage. Dropping that into a 10-bit sequence doesn’t magically make it full resolution.
[Samuel Frazier] “My friend doing the color correction had incredibly poor playback (even on his iMac Pro 10 core) and so many crashes, that he was only barely able to work from the ProRes Proxy sequence.”
Then transcode to ProRes HQ, or ProRes 4444. Many camera masters take a lot of system resources to play back natively. And even with a totally decked out high end system, some won’t play back smoothly, so you transcode to a high end, finishing codec.
[Samuel Frazier] “I’m confused when you say it won’t be made from the masters though, b/c Premiere does automatically go back to the masters when you export.”
Does it? I thought you had to click that one button in order to switch the sequence back to linking to the masters, and not the proxies.
[Samuel Frazier] “I’m pretty sure about that b/c my proxies had watermarks stamped on them when they were created showing they are the proxies and not the masters, but my exports do not have the watermark.”
Ok, my Premiere experience might be falling behind as I’m not on the latest version. But still, you really should do a proper online, relinking to the masters and grading those, or transcoding those to high res masters and grading them. Even color grading the proxies won’t show you what’s really happening.
Shane
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Why are you doing this? This IS NOT the final export, correct? but, exporting for review or something? If so, there’s zero point in going to a 10-bit sequence. The output will be H.264, and it won’t even be made from the masters, so no sure what if any quality will be gained.
Shane
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Log into your Avid Master account, then go to the Download center. They have ALL of the 2018.x versions there for download.
Shane
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Render time is a healthy “smoke break.” A good reason to get up from your chair and walk about. Maybe hit the loo. Go talk to your post super, chat up another editor. Answer a few questions on a forum. Eat lunch.
Exports I tend to do at night when I’m done. OR… I do them and go get lunch or read. Watch a cat video, wishing I could make a cat video that got more than 9 hits…
Shane
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