![]() You can read a full article on Premiere proxy workflows here. Premiere makes it super easy to toggle back and forth if your proxies and full-res media are both connected. Just like bringing in any media in Premiere, either navigate to the footage in your media browser or right-click in the project window and click “import.” Once your footage is imported, I’d recommend making proxies of all the media to speed up your workflow. These versions of ProRes are built for finishing, and ProRes is usually a very smooth codec for an NLE to handle-so getting footage in, organized and starting to edit is really quite simple. Specifically, ProRes 422 HQ and ProRes 4444 are the most common codecs I will get back from an Alexa shoot. Arri ProRes WorkflowĪrri cameras have the fantastic ability to shoot directly to ProRes. Footage shot in log will usually deliver a much wider dynamic range and give us much more control over an image than what REC709 can provide. Every camera manufacturer has their own type of log color profile, tuned to the hardware in their different cameras. On an Arri camera, choosing Arri’s Log C color space will utilize the full range of Arri’s powerful sensor. Pro-level cameras also capture their footage in log, a flat color profile that retains the full range of the camera’s sensor within each clip. Most of these tips are written for Adobe Premiere Pro, but you’ll find much of the information will transfer to other NLEs if you know how to do the equivalent action.Ĭonsumer digital cameras are generally set up to shoot in a standard color profile called REC709. I want to share with you some Alexa and Arri workflow tips I’ve acquired over the years working on commercials, features and TV shows. Arri’s ProRes and ArriRaw workflows in post are fast and straightforward, and that’s why I love the Alexa. All high-end cameras these days make an incredible image, but I really appreciate anything that makes my workflow faster and more efficient. But of all the cameras and codecs that we see on a daily basis, Arri footage is loved in post-production just as much as it is on set. On the post side, we usually don’t have any control over what camera package is chosen for a project, or how that footage makes its way to us. Arri’s ability to produce such a high-end image, in terms of color latitude and dynamic range have secured Alexa’s dominance as the workhorse for Hollywood’s elite cinematographers for digital filmmaking. FCPX”).It’s no secret that Arri cameras have become the standard of high-end productions across the film and television industry. Hedge brought in Estelle McGechie (CPO of Atomos, formerly Apple’s Pro Video Product Marketing Manager), Robin Moran of FOCUSED equipment (producer, director, and overall workflow wizard), and Steve Bayes (“Mr. So what did they have to do? To keep autonomy but also gain needed investment capital, Hedge decided to allow a select group of industry leaders to invest in Hedge. ![]() Hedge didn’t want to go down this path and become a company driven by spreadsheets. To make Hedge larger and to fast-track its growth, it would have had to have been taken over by someone else, and that ultimately would have meant giving up decision power over its future. Since day 1 Hedge has been courted by parties about investing in or selling Hedge. Steve, Estelle McGechie, and Robin Moran have joined as advisors.Hedge has acquired EditReady and Scopebox.Hedge is the lead investor in Colourlab’s seed round.Hedge raised $3M from industry leaders, led by Steve Bayes.Here’s the full story: - Hedge July 28, 2021 Also, we’ve invested in and ’s EditReady and ScopeBox apps are now part of the Hedge family.
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