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ProRes422 Workflow

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Evan SeitzProRes422 Workflow
by on Oct 29, 2010 at 1:53:55 pm

I need a bit of information on a professional level work flow. If a client is using a 7D or even a RED, etc. - is it normal to bring those files into After Effects and convert them immediately to ProRes422? Do real documentaries export their final product as ProRes422 or do you need to keep a lossless version as well that you hide in the timeline below the ProRes replica the entire time (and then just unhide when you're ready to do the final export)?

Any help would be greatly appreciated.

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Dave LaRondeRe: ProRes422 Workflow
by on Oct 29, 2010 at 2:44:38 pm

For a 7D, ProRes 422 is perfectly fine. The only exception would be if you have to re-render clips over and over: think five generations deep. That's when you'd want to use HQ. I can't think of a single workflow that would call for doing that, so it's a very rare thing.

RED footage would be a different matter, especially at the 2K and 4K resolutions. HQ would be the way to go, but this is all hearsay -- I've never worked with the stuff.

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

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Walter SoykaRe: ProRes422 Workflow
by on Oct 29, 2010 at 6:12:34 pm

For RED, I'd use a direct R3D workflow and render to whatever format is preferred in the rest of the pipeline (ProRes 4444, DPX, etc.).

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog - What I'm thinking when my workstation's thinking
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