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Kevin Camin
Dumb Question
on Jan 31, 2019 at 9:07:15 pm

Does a sequence have an assigned video codec to it? In the sequence setting I don't see anything. When I worked in Final Cut 7, I felt like it had a codec, so if you were to add footage that matched the sequences' codec and you had no effect applied, it would play in real-time without any rendering.

Thanks so much for reading.

Best regards,

Kevin Camin


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Todd Perchert
Re: Dumb Question
on Jan 31, 2019 at 9:53:41 pm

When you make a new sequence, you select what sort of codec you are using, yes. If you drag a source file from a bin to the new item icon it will make one that matches, or closely resembles, your source material.
TC


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Kevin Camin
Re: Dumb Question
on Jan 31, 2019 at 10:07:01 pm



Is it basically the 'Arri' in this instance? I don't see the Arri codec anywhere in the specs on the right. How would you create a ProRes sequence from scratch or do you just need to drag and drop in a ProRes file into a blank timeline?

Best regards,

Kevin Camin


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Todd Perchert
Re: Dumb Question
on Jan 31, 2019 at 10:35:42 pm

Yeah. You can select one that is close and it will be fine. Or, in PPro, in your Bin, you can grab one of your ProRes files (if you are on a mac) and drag it onto the New Item icon on the lower left of your bin. You have a Search icon, New Bin icon, then the New Item icon. If you do it that way, your preview files in your Sequence Settings should show as ProRes as well - giving you even better render options when done if you render out to ProRes as well. Then you can use your preview files to speed up rendering. If you use preview files - I usually don't.
TC


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Kevin Camin
Re: Dumb Question
on Jan 31, 2019 at 10:54:30 pm

Thanks for the response. : )

To do a lossless edit, does it matter what codec the sequence is set at as long as you export uncompressed or should you set the sequence to a lossless format to ensure this?

Best regards,

Kevin Camin


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Todd Perchert
Re: Dumb Question
on Jan 31, 2019 at 11:14:11 pm

Not sure why you want an uncompressed export. Do you realize the amount of disk space that eats up? And most places won't accept that. https://toolstud.io/video/bitrate.php
I would stick with ProRes through your entire workflow. What is your final destination for the project? Broadcast will have it's own issues you're going to have to work through if your material is 24fps.
TC


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Kevin Camin
Re: Dumb Question
on Jan 31, 2019 at 11:22:14 pm

To a colorist.

Best regards,

Kevin Camin


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Shane Ross
Re: Dumb Question
on Feb 1, 2019 at 2:44:30 am

As a colorist, I either want ProRes HQ, ProRes 4444, DNxHR....or the camera masters. NOT uncompressed.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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John Heiser
Re: Dumb Question
on Feb 1, 2019 at 3:54:34 pm

Sequence presets are really just a convenience and don't have any effect on exports. An Arri preset isn't functionally different than a DSLR preset. The presets are present as a convenience to help you match frame size and frame rate to a camera or delivery format.

The Video Previews file format setting can help with smart rendering, though. For example, I set my previews to QuickTime ProRes HQ, since that's usually my mastering format, and I render red-line sections (or the whole timeline) prior to exporting a "Match Sequence - Use Previews" master file. Smart Rendering saves time by bypassing having to render effects again, using the preview files to compile the output movie.

Shane's comment below is correct - for sending to a colorist, export to a "mezzanine" format with a codec such as ProRes 4444 or DNxHR.

John Heiser
Senior Editor
o2 ideas
Birmingham


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Kevin Camin
Re: Dumb Question
on Feb 2, 2019 at 2:40:49 am

Thanks everyone for taking the time to share your best practices and for answering my questions.

Couple questions:

•If the footage I'm editing was shot log, is that 'log state' preserved if I export from Premiere a ProRes444 file? If you can tell, my question reveals I don't deeply understand log. I know it's a way of capturing video in a way that gives more data to parts of the tonal curve that our eyes are sensitive to, and it helps preserves detail in the highlights and shadows by not crushing them. But, I'm unclear if the log aspect is a part of the file itself, or if it's just a file like any other and it was just shot in a special way. The thing about log is that is lacks contrast, so you typically need to expand out the tonal and color data to get true blacks and whites, and in other experiences of mine with photography, doing that can create gaps in the histogram since you're taking say 180 tonal steps and spreading it over 256.

•What do you do if you are editing with raw files and need to pass to a colorist? I take it you wouldn't render out of premiere a ProRes, but I'm guessing provide an EDL?

Thanks again, everyone!

Best regards,

Kevin Camin


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John Heiser
Re: Dumb Question
on Feb 5, 2019 at 7:57:30 pm

Exported video looks like it does on your timeline. If you shot log and add a technical LUT to make it look better while you edit, that LUT will be applied on export and show up in the resulting file. If you're handing a project off to a colorist for finishing, there are a few ways to do that:

- Strip all your color effects from your sequence and export a single PR4444 file (and, I think, an EDL might help). Your colorist will cut the file at each shot (the EDL can help with that) and apply a grade, and send a graded file back to you.
- Pack up the entire project onto a hard drive, export an XML file, and send both to your colorist. He/she will then have the original media to work from. To make that package smaller, you can use Project Manager on a copy of the project to cull out media you didn't use (keep the original).

Those are absurdly simplified explanations of a process that can go wrong quickly if you don't know what you're doing. I suggest you ask your colorist what his/her preference is; a good one who's not interested in unnecessary work cleaning up a poorly-prepared project will be able to guide you so you give them what they need. So use a good one with some experience who can do that.

John Heiser
Senior Editor
o2 ideas
Birmingham


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Kevin Camin
Re: Dumb Question
on Feb 19, 2019 at 5:45:04 am

Awesome--thank you for the info. Sorry for the delayed response. Your information cleared up a lot for me.

Best regards,

Kevin Camin


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Preet Malhotra
Re: Dumb Question
on Feb 5, 2019 at 3:27:53 pm

No idea about log/edl. Saw your PP screenshot so replying.

In Premiere Pro, sequence presets have no codes. They only hold certain video characteristics like Ratios, Resolutions, FPS and a few more. (And, I believe you'd be knowing this,) In case you drag a video that doesn't match the sequence settings, you'd get a prompt regarding modifying sequence or using as it is and modify video dimensions later

You select codec from presets or manually at the time of export.

Regards,
Preet Malhotra


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Kevin Camin
Re: Dumb Question
on Feb 19, 2019 at 5:46:40 am

Thanks for the info! Helped me understand. : )

Best regards,

Kevin Camin


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