Thread: WANTED: Current Workflow & problem solving solutions for Adobe workflow

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  1. #11  
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    OMF - FYI - if anyone is dealing with an OMF export issue, I've tried every ti-bit of voodoo to be found on the internet. Pref, flatten, export to audition, remove fx, audio format issues/replace, remove nested, on and on, and nothing worked. Error, crash, out of memory - you name it. Finally, a simple fix that worked for me - create a fresh new timeline, copy all from original timeline and past on to new timeline. OMF finally exported successfully.
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  2. #12  
    Senior Member PatrickFaith's Avatar
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    Quote Originally Posted by jake blackstone View Post
    There are so many issues with OP post I, frankly, have no idea where to start. But the biggest thing, that made me cringe is the insistence on editing and working with RAW and staying in Adobe universe all the way to the end. Either one can be problematic, taken together-it's a sure fire recipe for disaster. At some point you will need to leave Adobe workflow, at least for color grading, sorry Speedgrade...
    My suggestion with so much VFX work, ditch RAW as soon as you can. Make sure you pre-grade all you VFX shots, before you hand them over to someone else, regardless of software used. Having everyone on the project on the same page with RAW settings, LUTs etc is not that simple. Trying to grade something with VFX already applied is pretty difficult, unless masks are passed along, but even then,with loss of metadata, simple things, like color temperature is not so simple any more. That is why shots needs to be pre-graded.
    As far as editing with RAW, seriously there is no need to overcomplicate things. Use proxies, your computer with thank you, things all of a sudden will get very fast and you will get zero crashes. When finished, export XML and let other deal with RAW conform.
    Do yourself a favor and hire a knowledgable post supervisor. Doing a feature with 200 VFX shots without having proven workflow is not a great idea.
    Barring any major workflow decisions, do stick with DPX or EXR for your VFX workflow. That is an avenue used by most professionals.
    Looking forward to the future, Baselight Editions for PPro can't come fast enough. Once that happens, in my opinion, Adobe suite will immediately become a force to be reckoned with.
    I'd echo everything jake said. Though I see a lot of pros use Dpx for vfx, I dislike Dpx if you don't have a colorist that up front creates the files(because of clipping and stuff smashing raw into 10 bit land), way easier to just work in exr so you don't have to compress the color space going to vfx. As a side note, premiere has a linear check box if you have a gpu (I'm on a 12 core Mac Pro d700 for editing). Aside from dailies and initial creation of the DI I never edit to raw, I edit in prores 4444 mostly. I also normally convert the vfx openexr files to prores when I'm inside premiere, primarily for speed since I don't like how premiere cache/proxies exr. Also I run off of a NAS Drive but all the editing is cached on a local 1 gigabyte per second of 32 terrabyte raid drive.
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  3. #13  
    Senior Member Ben Roper's Avatar
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    We keep it RAW the whole way through - The trick is grading in Speedgrade, then exporting a 'look'/LUT and applying it to the originals in 32bpc AE. Any masking/power window work is done directly in AE as normal. Just make sure your R3D settings are all defaulted. Once you're done you can put out a master image sequence in an format you wish straight from AE, but if you want to encode out of Premiere (and I suggest you do based on my other thread in this forum about H264 and AE) then be aware that PR won't read certain bit depths, i.e. 16bit TIFFS
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