August 18, 2016 at 1:44PM

0

How do I handle a 4K workflow and 1080p proxies?

Hey!

I just finished shooting a project with the new Ursa Mini 4.6k and we shot the entire thing in 4.6k raw 4:1 (which are not compatible with premiere pro at the moment). I have rendered proxies in 1080p and now wonder how I best handle the entire workflow in Premiere Pro and Davinci.

Since I can't use premiere pro with my raw footage I was wondering if there is a way to easily work around it all.

Would it be possible to edit everything with my proxies in 1080p in Premiere and then later on import the timeline into Davinci and in there replace all of the clips with my original raw footage?

Thanks!

7 Comments

Are you sure Premiere Pro does not support BM Raw? I think it does!

Yes Premiere Pro can handle proxies just fine!

August 18, 2016 at 5:43PM

0
Reply
avatar
Cary Knoop
Member
2417

Yes CinemaDNG raw 4:1 is not suppored in the latest update of premiere. Regular 1:1 is, but we wanted to deal with smaller file sizes.

August 26, 2016 at 7:15PM

0
Reply

Look into the newest update to Premiere. It added a long overdue proxy workflow that'll accomplish exactly what you're asking for.

August 19, 2016 at 8:38AM

0
Reply
avatar
David S.
3135

Hi Martin!
Shooting raw is fun... and not fun. Since I'm a scrappy, self-taught filmmaker, I do things the wrong way on purpose. When I shoot raw footage, I take about 5 to 10 "ideal" DNG raw stills from different clips and color them in Adobe Camera Raw, just to see what's possible with color. (Make sure you copy and paste the DNG stills into a separate folder). Once I settle on a look I like (or I think I'll like), I churn out all raw sequences into ProRes, with the color around 80-90% of the way I "think" it will end up. Editing ProRes is fairly easy in Premiere and it can always handle further color tweaking along the way. If I ever need to venture back to the 2.5k or 4k raw, for reframing or recoloring, I can do so and replace my hi-quality "proxies" fairly easy. I don't know how people "round-trip" a whole project. That seems like a LOT of work to me. And since I want some instant gratification of what I shot, making high quality, sexy-colored ProRes proxies is my first step. My assistants always tell me this is the WRONG workflow, but I'm able to see where we need to go sooner in the process... and I can always tweak and replace things along the way. The clients are always happier when they can see where it's going sooner. When you show clients (or friends) the log or uncolored raw, they question what the heck you're doing. When you're a tiny crew, scrambling for paid gigs, and gaining the trust of supporters, getting sexy color and edited sequences ASAP is crucial. But again, this is just what works for me and I'm able to make a living at it. If I find myself on a REAL film shoot some day, I'm sure things are done a LOT differently. Until then, I'll stick to what works for me. Good luck with your film!
—Dennis

August 21, 2016 at 12:28PM, Edited August 21, 12:31PM

0
Reply
avatar
Dennis Nagelkirk
Write. Film. Edit. Draw. Paint.
223

This is such a stupid workflow. I've been doing the same thing since 2013 , haha. And like you, I get 90% of my look in Camera Raw and make minor tweaks in premiere. I guess I just like making things harder on myself.

August 22, 2016 at 11:21AM

1
Reply
avatar
Don Way
Writer/Director of Photography
973

The way you do it makes the most sense.

August 23, 2016 at 12:33AM

1
Reply
avatar
Sathya Vijayendran
Writer/Director/Editor
319

This process makes a lot of sense if you're working with a fast and straight forward project. But since we are working with a rather VFX heavy project it isn't really the ideal way for us to go. We have 1080p proxies that we use to cut the whole thing is and we will probably end up importing that timeline into Davinci and replacing all the clips with the raw files. For the stuff we need VFX on I guess we will have to render out into After Effects since Premerie can't handle the RAW 4:1 that we are working with.

This might not be the most effective approach but I think it'll get us where we need.

(I wish I was working on things shot in prores without any vfx and only a few days of editing needed...)

August 26, 2016 at 7:21PM

0
Reply

Your Comment