I haven't edited much in a while and was just asked to edit a music video. I had dealt mainly with 5D DSLR footage before which my plan of attack was - ProRes...aannnnnd done.
Now this video was sent over and was shot on an A7S and RED. The footage for the a7s shows an AVCHD folder and .mp4 clips. And the Red footage has RDM folders holding RDC Folders holding R3D files.
Can someone recommend a workflow on how they most painlessly handle editing this footage in Premeire? Would you convert everything into 1 uniform codec to edit? Edit everything natively? Proxy somehow?
I worked on a short two years ago using the same exact cameras.
Back then it was a bit of pain so all files converted to ProRes422.
Of late I've been testing Panasonic EVA-1 and RED footage in a documentary and with Premiere CC 2018, I am starting to trust their Proxy option.
Where I had to make sure it works was during the switch and if I were to start importing new footage later into the project.
The reason I tried this workflow of late is due clients requirement that they have the original RAW at all times.
I never had to worry about that back then since I have always converted all files to a Proxy like format.
Also, if you do decide to convert all your files, as long as you keep the original file names, you should be fine at the switch.
Thanks Eric! Although I've quickly messed around with Proxy just to understand how it functions, I've not used it on a project. Do you have a recommended setting for using as proxies for ease and workflow?
[Bobby Kay]"Thanks Eric! Although I've quickly messed around with Proxy just to understand how it functions, I've not used it on a project. Do you have a recommended setting for using as proxies for ease and workflow?
With PP you can create your own settings using AME.
Burn-in, timecode, LUT, etc...
I am fairly new to PP steps but the above I know works.
My only beef of late is my last Proxy turned up with a horizontal squeeze.
Not sure where the heck that happened but I'll remember to fix that next time.