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Anamorphic Proxy Workflow (Red & Alexa)

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Anthony Perec
Anamorphic Proxy Workflow (Red & Alexa)
on Apr 28, 2018 at 4:33:03 pm

Hello,

I'm a longtime reader of the forum so thank you for all the contributions and advice!

This is my first time posting as I went through the forum and wasn't able to find the information I need. Preface, I just got handed a ton of footage and have to make sense of it.

I'm looking to create proxies for editorial from a few different sources and I was wondering how to best approach this.

I have both RED 8k Helium (ANA & Spherical) & ALEXA Mini Arriraw (ANA & Spherical). We'll be finishing in 2k and framing for 2.39.1

The Red Anamorphic files are 5184x4320 (8K 6:5 ANA 2) & The Alexa anamorphic files are 2880 x 2160.

I'm trying to figure out the best way to create proxies for editorial but am stuck with how to best transcode the footage for edit.

Any advice? I was thinking of using the INGEST setting in premiere and creating an encode+ingest preset but am unsure how to proceed to match the footage (i.e- at what resolution to set my proxies for to maintain the proper ana format)


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Chris Wright
Re: Anamorphic Proxy Workflow (Red & Alexa)
on Apr 28, 2018 at 7:22:01 pm

you can use any size as long as you have..
1. evenly divisible number of pixels
2. fields, duration, same pixel aspect ratio(width/height)
3. same number of audio channels(codec must support large # of audio channel and metadata)
4. same framerate
5. unique parent folder
https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-...

the actual size is dependent on how large you are viewing the proxies. for example, a small source monitor only needs 460 pixels and a full screen needs, full resolution. 10 bit proxies will grade better. choosing between cineform, prores, and dhxhd depends on the full color pipeline you are choosing. any offline full render from premiere will clip arri color permanently to rec. 709 while an XML to resolve will keep arri color wide color gamut all the way through to DCI.


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