CS5 Workflow and color correction

[Alexander Mejia]

I wonder: is it OK to resize a 4k shot directly in Premiere? I mean, is it a good idea? (the final export will be a 2k tiff/dpx).

I have never liked Premiere Pro's Bilinear resampling method. I've always used Avisynth when doing a final render and resample.

If your render is taking too long, this isn't an option. See if you can output your video in real time via HD-SDI and use a hardware scaler to take it down to 2K.

 

[Kwan Khan]

adobe is paying attention?

adobe is paying attention?

Yes adobe is paying attention I bet apple probably isn't though...

Cheers

Dave

Hey David,
Any update/News?

 

[Santiago Marti]

Hey, David said in another thread that today he was starting his vacation.
As an adobe beta tester, all i can say is everything is looking good! Expect Rocket support and .rmd inside of premiere in a future update, i am freely saying this cause he implied it! Also, he is not here! :yesnod:

 

[Kwan Khan]

Thanks for the good news Mr. Marti,
I was leaning toward to buying colorista II (Academic)until ultimate solution (AE to Color).
Will wait to see the magic.

 

[Santiago Marti]

Colorista 2 is impressive!!!! it should be called colorista 3!!!

 

[Jon B.]

Does anyone know if a PPro project can export to adjust color in RedcineX?

I like the simplicity and quickness of RCX.

 

[Linda Nelson]

These days, with budgets so tight, the more that can be done in-house, the better. We've had to experiment with color correction and our monitor, but have finally got the calibration to a point where we are quite happy with the result.

One of the reasons I opted to use CS5 is that I wanted to be able to work with the actual RED files, rather than lower resolution proxie files. This gives me the ability to see detail on our 42" flat panel, that I could never see on a small monitor or with low resolution files. I like that we can make adjustments in realtime and split the screen to see the effects of our work as we go. I can't imagine having to render, wait, adust, re-render, wait, adjust, etc.

I do agree with you about sound. We were fortunate to have some outside help with sound, as that is our weakest area of expertise.

Linda I 'm not sure what state you live in, but here in California you can get a feature, especially an Indie Red feature, graded for as little as $10,000 by some of the best colorists on the planet, and sound cleaned, monitored and mixed for about $6000. I have the rebel indie filmmaker spirit you have, but distracting quality will greatly take away from your hard work. Distributors can spot the difference in a heart beat, and will take advantage of you if you come unprepared. Music videos and commercials and short films are one thing but a feature film is less forgiving. You should prep an uncompleted sizzle reel and approach a distributor for completion funds if you don't have any. Color grading is a CIA well kept secret. You can search online, you wont find and real comprehensive tuts on this art. Having an overall look on a feature is far far from real emotional grading. Don't listen to the folks that tell you to use Scratch or some other software, just get a colorist. They are aesthetically aware of how the mind and the eye read images. Thats why they get paid $800 per hour.