- #Editready and converted it to prores 422 how to
- #Editready and converted it to prores 422 full
- #Editready and converted it to prores 422 tv
You’d have to create presets for each aspect ratio and that can become time-consuming, and again, all about efficiency over here. Premiere has the ability to create Proxies for you based on encode presets you create through Media Encoder, but if you are working with a range of aspect ratios within a single project, Premiere ends up being a bit of a pain in creating the proxies.
#Editready and converted it to prores 422 full
You can read a full article on Premiere proxy workflows here. Premiere makes it super easy to toggle back and forth if your proxies and full-res media are both connected. Just like bringing in any media in Premiere, either navigate to the footage in your media browser or right-click in the project window and click “import.” Once your footage is imported, I’d recommend making proxies of all the media to speed up your workflow. These versions of ProRes are built for finishing, and ProRes is usually a very smooth codec for an NLE to handle-so getting footage in, organized and starting to edit is really quite simple. Specifically, ProRes 422 HQ and ProRes 4444 are the most common codecs I will get back from an Alexa shoot. Arri ProRes WorkflowĪrri cameras have the fantastic ability to shoot directly to ProRes.
Footage shot in log will usually deliver a much wider dynamic range and give us much more control over an image than what REC709 can provide. Every camera manufacturer has their own type of log color profile, tuned to the hardware in their different cameras. On an Arri camera, choosing Arri’s Log C color space will utilize the full range of Arri’s powerful sensor. Pro-level cameras also capture their footage in log, a flat color profile that retains the full range of the camera’s sensor within each clip.
#Editready and converted it to prores 422 how to
Most of these tips are written for Adobe Premiere Pro, but you’ll find much of the information will transfer to other NLEs if you know how to do the equivalent action.Ĭonsumer digital cameras are generally set up to shoot in a standard color profile called REC709.
#Editready and converted it to prores 422 tv
I want to share with you some Alexa and Arri workflow tips I’ve acquired over the years working on commercials, features and TV shows. Arri’s ProRes and ArriRaw workflows in post are fast and straightforward, and that’s why I love the Alexa. All high-end cameras these days make an incredible image, but I really appreciate anything that makes my workflow faster and more efficient. But of all the cameras and codecs that we see on a daily basis, Arri footage is loved in post-production just as much as it is on set.
On the post side, we usually don’t have any control over what camera package is chosen for a project, or how that footage makes its way to us. Arri’s ability to produce such a high-end image, in terms of color latitude and dynamic range have secured Alexa’s dominance as the workhorse for Hollywood’s elite cinematographers for digital filmmaking.
It’s no secret that Arri cameras have become the standard of high-end productions across the film and television industry.
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