[Tero Ahlfors]

[Jason Morehouse] “high quality… 1GB to 2GB…”

Well… There’s your problem. If you need high quality you’ll need more bitrate and more bitrate means it will take more space. The new H265 codec would be a pretty good choice but it isn’t in Adobe CC yet.

[Tero Ahlfors]

[Scott O'Hara] “I’m assuming this is what the colorists go off of when they start grading.”

You’ll need to consult the colorist what he/she wants as the RED settings.

[Scott O'Hara] “Cause honestly those settings look like crap.”

That’s why you use an adjustment layer or a LUT to turn washed out looking RedLOG stuff to something that you can work with.

[Tero Ahlfors]

[Pat Horridge] “But wont this give me a 50 or 60 fps output file at then end?”

Those are the specced framerates that Premiere and the I/O supports. You can however make a 1080 29.97 sequence (because you can monitor that), edit in that, copypaste the final edit to a 720 29.97 sequence and render out.

[Tero Ahlfors]

[Scott O'Hara] “Even though the white balance and such might differ from clip to clip on the RAW, I shouldn’t mess with it until after the VFX.”

That’s the colorists job. I usually only have individual VFX shots and I have no idea what the surrounding clips look like so it’s not my job to try to balance anything.

[Scott O'Hara] “Then once I have completed all the FX, go to color grading and correct all the footage and VFX together at once.”

Grading is the last part of the production, yes.

[Scott O'Hara] “Or am I just making sure I blend it with the RAW footage as best as possible?”

Yes. You’ll want to keep as much dynamic range/image quality for the colorist to work with.

[Tero Ahlfors]

You’ll need to use the proper specced 720p video signal framerates if you want to use an I/O box. And those are 720p60 and 720p50. Although you can create a project for whatever resolution/framerate you want those are the actual officially specced formats.

Avid might do some conversion out to the I/O and I’ve heard that some AJA cards do too.

[Tero Ahlfors]

[chris brett] “I have heard that colour correcting can cause problems with keying”

Actually sometimes you’ll probably want to color correct to do a key. But then you are manipulating the colours to give you a better matte as the result. The footage itself might get a little crazy so you wouldn’t want to use that.

[Tero Ahlfors]

You can fine tune After Effects’ Warp Stabiliser VFX effect but the Premiere version doesn’t have that. Also if you have super shaky stuff with motion blur it just might be impossible to stabilize.

[Tero Ahlfors]

[Scott O'Hara] “When you refer to CCing the assets that are added to the clips, can you give me an example of what you’re referring to? “

Well for example if you’re adding a stock explosion to a clip you’ll need to colour/grain match the element so it doesn’t pop out as an added element.

[Tero Ahlfors]

[Scott O'Hara] “What I was planning to do was do a quick pass for white balance, etc. then doing the VFX on the clips”

Don’t touch the colour info at all unless you’re doing an effect that needs that. If you’re dealing with washed out logarithmic stuff you can use an adjustment layer with a cineon converter effect to use it as a preview.

[Tero Ahlfors]

Copy the contents of the card to your hard drive. Do not alter the folder structure of the card and don’t just copy the media files.