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Is this workflow correct for stabilizing & pp large res Still image sequences?

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Seth Marshall
Is this workflow correct for stabilizing & pp large res Still image sequences?
on Apr 30, 2013 at 1:34:18 pm

I work with 5DmkII still frames which are very large, and I've learned here of the benefits working directly with the raw files (as opposed to separate processing with lightroom first). Problem is AE crawls as it chugs through each individual raw file. I am finally learning to use proxy's which should make my life much easier.

Because I use masks I assume my first step should be to stabilize the footage before adding the masks. Is this best done to the original raw because wouldn't the proxy be lower res?

To ease workflow I've been experimenting with first rendering out a ProRes4444 video from the raw files and then using that as my Master for stabilizing. I want 444 to keep best color data for PP. Would I be loosing anything by doing this?

As for using proxy's, I notice default is animation, is there any advantage to changing the proxy codec to ProRes for instance?

I do not have a defined delivery format and usually deliver ProRes. THANK YOU!


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Dave LaRonde
Re: Is this workflow correct for stabilizing & pp large res Still image sequences?
on Apr 30, 2013 at 1:51:27 pm

This sounds like a codec question to me. I wouldn't bother using ProRes 444: HQ would be just as good, and the file sizes would be smaller.

ProRes would be good for proxy work, but as you fear, stabilizing a proxy isn't wise because crucial image detail is probably missing.

I'm unsure if ProRes defaults to certain horizontal & vertical resolutions: some codecs do that. You would have to experiment.

Dave LaRonde
Former Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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Seth Marshall
Re: Is this workflow correct for stabilizing & pp large res Still image sequences?
on Apr 30, 2013 at 2:04:06 pm

Thanks Dave! In your opinion going immediately to even ProResHQ wouldn't cause me to loose anything compared to working with the original raws? That is amazing news if so. I was worried transcoding to anything may loose image quality -- so I choose ProRes 4444 at least to retain 4:4:4 for best color correct fidelity (and it already cuts the file size in half). EDIT: Since the raw files are 14bit I assume it's best to work in 16bpc.

I will only use a proxy after I stabilize. Is there a way to change proxy codec or should I just leave it animation?

In my experience ProRes doesn't change any dimensions.


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Dave LaRonde
Re: Is this workflow correct for stabilizing & pp large res Still image sequences?
on Apr 30, 2013 at 2:20:15 pm

The only reason I would use 444 transcoded from RAW would be if I were shooting blue or green screen. Otherwise, I wouldn't bother with it.

I've never been in a situation where proxies would save me a great amount of time, so I have very little experience with it... but if you're transcoding RAW to Prores, why not use the full-rez footage?

Dave LaRonde
Former Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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Seth Marshall
Re: Is this workflow correct for stabilizing & pp large res Still image sequences?
on Apr 30, 2013 at 5:26:53 pm

Thank you Dave, your advice gives me more confidence in my workflow.

EDIT: You say 444 is not necessary, but I assume 16bpc is right? (considering 5DmkII is 14bit)


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Dave LaRonde
Re: Is this workflow correct for stabilizing & pp large res Still image sequences?
on Apr 30, 2013 at 5:36:27 pm

Almost EVERY delivery codec is 8-bit. ANY ProRes codec is 10-bit. It won't hurt to work in AE at 16-bit. But as of now, some effects are only 8-bit.

Thoroughly confused now?

Dave LaRonde
Former Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA


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