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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

4k workflow in AP CS3?

E

Eric Edwards

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Hey everyone,

I was wondering what the work flow would be while shooting 4k footage, could this be imported into a Adobe Premiere CS 3 timeline and edited that way? Also, having used HDV and what not, one of the things that really bothers me is the hdv compression, it gives off sometimes very unfavorable results.

I know the Red Camera uses a type of compression as well, probably not on the lines of HDV, but while shooting 4k, would some of these artifacts still show up similar to that in HDV or would the image be as clear in editing as say S35mm? Ive heard that the rate is only 25mb/sec which is around the same level as HDV, so it really makes me wonder if what they are saying about film vs. red is really true? meaning with this compression does the image still rival that or equal that of an actual 35mm image.

Also, if premiere isn't the way to go for editing such 4k footage, what would be the more ideal approach to editing this footage? Would sata raid configs be enough to handle this footage? and would there be a need for external or internal hardware attached to the computer to edit this? (like HD output cards, etc)

Thanks for any info.
 
I think you are confusing bits and bytes my friend. 25MB is 200 mb/s A hdv cam has around 20 mb/s, which equals 2,5 MB.
 
Eric Edwards said:
Hey everyone,

I was wondering what the work flow would be while shooting 4k footage, could this be imported into a Adobe Premiere CS 3 timeline and edited that way? Also, having used HDV and what not, one of the things that really bothers me is the hdv compression, it gives off sometimes very unfavorable results.

I know the Red Camera uses a type of compression as well, probably not on the lines of HDV, but while shooting 4k, would some of these artifacts still show up similar to that in HDV or would the image be as clear in editing as say S35mm? Ive heard that the rate is only 25mb/sec which is around the same level as HDV, so it really makes me wonder if what they are saying about film vs. red is really true? meaning with this compression does the image still rival that or equal that of an actual 35mm image.

Also, if premiere isn't the way to go for editing such 4k footage, what would be the more ideal approach to editing this footage? Would sata raid configs be enough to handle this footage? and would there be a need for external or internal hardware attached to the computer to edit this? (like HD output cards, etc)

Thanks for any info.
Click to expand...

You need to be careful with the capitalization used in your data rate shown. "25 mb/sec" is actually 25 Milli bit per second or .025 bits / second. HDV is actually near 25 Mb/s (25 mega bit per second) which is just over 3 MB/s (3 Mega Byte per second). The data rate for 4k RedCode is 25 MB/s or about 8 times greater than HDV.

Now for your question, HDV is a horrible data format with more compression artifacts than just about any every conceived of. RedCode is claimed to be visually lossless and therefore would be infinitely better than HDV. As for editing in CS3, given an adequate hardware platform, it should be a reasonable task for an offline approach and perhaps even on online one. This and other similar questions will be fully answered once RedCine and RedQuick are released.
 
Ok good, well that was my confusion as to whether or not if was the same data rate, because thats what I heard from others...so this only makes me feel better knowing that data rate is a lot higher...thanks for the info everyone.
 
Eric,

AP CS3 supports resolutions up to 4k. The question is how soon AP will support Redcode.

I spoke with Adobe at NAB and they said they would support it, but they wouldn't commit to a timeframe. I wouldn't be surprised to see an announcement soon.

The big factor for me is that so far, there are not output boards that will support the real time down rez to 2k for monitoring.

It was encouraging to see the Cineform guys playing a 4k file with a real time down rez at NAB, especially since their codec is wavelet based like Redcode. This means that technically it should be achievable (hopefully in the near future.)

My Axio LE cards have spoiled me with almost everything I do being real time or very close to it.

Hopefully, we will have that capability very soon from Adobe and one of their hardware partners.

-Thor
 
You think there still might be a way to export out to an HDTV for preview...perhaps a 4k -> 1080i(p)? I run a matrox apve card and was hoping to still be able to preview out.

Any new news from Adobe mentioning their support for redcode?
 
Not for another year I suppose.
However, I spoke to David Newman of Cineform, and apparently, even with the quicktime wrapper, Premier will defult to seeing the RedCode RAW as 8bit only. Considering the limitations of FCS2, My personal choice is CS3 with Cineform (Using their 12bit RAW codec for RED projects). This will maintain 4k throughout the etire workflow, with no need for intermidiate rendering or conforming through an off-line/online like workflow.
Simply work and finish all in one go.
 
Yuval, is there information about the Cineform 12bit codec for Red in CS3 on the web somewhere?
 
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