Mixed format workflow within Adobe CS5 Suite for 2k Output

[Sivanesan]

I have multiple formats of RED footages in 2k, 4k apart from that DPX files in 2.35 Anamorphic format and DSLR footages too.

We would like to do the full post production within Adobe CS5 Suite. Edit in Premiere, Compositing & Grade in Aftereffects with color finesse.

Our final output would be in 2k DPX sequence Master @ pixel aspect ratio square - 2048X872

My doubts are as follows :
1.) While working we would need to PAN & Zoom in RED 4k files. Is that a good practise to do it in premiere cs5 ?
2.) What are the recommended project setting & Interpret footage settings ?
3.) I have planned to import all the footages as it is to Premiere and assume them as 24 fps using Interpret footage settings. Is this is a good practise to do it in premiere cs5.
4.) Since my output will be 2k, can i modify RED 2k settings to 2048X872 @ 24 fps @ pixel aspect ratio square and continue to edit?

I have already gone through this article
DAVTech Table - Editing with RED 1.7 Technical Overview. It discusses only about RED.

Regards
Siva

[Subhadip Sen]

The good news is that this could be remarkably simple. Set your Sequence Settings as you want your final output. I.e. 2048x872, 1.0 pixel, etc.

Now, you will notice that all media in your bin has its own settings, including Interpret Footage. Premiere Pro automatically interprets all your different footage so it fits within your Sequence. However, you can always Interpret Footage the way you want it to appear on the Sequence timeline. I assume all your footage is 24p. If not, Premiere Pro applies its own pulldowns or even retimes to make everything fit the Sequence. You will be amazed how good 60i footage looks dropped into 24p! Not only does it de-interlace, but it also retimes/pulls down (I am not sure of the exact method) the footage, all automatically! (Of course, there's a quality loss retiming 60i > 30p > 24p internally) It is a surprisingly powerful NLE, and you will be treated to pleasant surprises along the way. Basically, all you have to do is drag and drop your footage, and Premiere Pro CS5 will do its best to conform everything to your Sequence Settings automatically. Whether it be 30p 1080p DSLR, 24p 4K R3D or SD DV 60i or 24p AVCHD in a 60i stream - they will all end up being conformed to 2K 24p or as you want it on the Sequence timeline. Sounds too good to be true? Try it out for yourself! Occasionally, there might be hiccups or anomalies which you might have to deal with individually. (Note: By "conform", I mean it in the literal sense of the word, not FCP-speak)

Do note that interpreting 30p or 60p footage as 24p will only slow it down (slow motion). However, there are powerful options within both Premiere Pro and After Effects to retime your footage using Pixel Motion. Hopefully, all your footage is 24p, in which case you wouldn't have to bother with Interpret Footage at all.

Also, if the aspect ratios (of the frame) don't match, there will be letterboxing. To remedy this, you can pan/zoom/crop just fine individually. Though, complex motion with your image is better handled in After Effects (which is rather seamless with PPro).

[Sivanesan]

thanks for the inpputs Subhadip



if do colour correction withinin pp will it be off any use??


pp has no color manage option with it......


im thinking of using universal camera film printing density as my colorspace in AE



this follwowing LCD will be my external device for color correction.


http://www.sony.co.in/product/klv-40s550a


will it help me properly?


I also have a budget to get a "DeckLink HD Extreme 3D" should i use my lcd throgh my GPU or thru decklink card? which will be efficient?