Joint "workflow" format in the Adobe CS5 Suite for 2 k output

I have also several formats of footages REDS in 2 k, 4 k, set to share files DPX 2.35 anamorphic format and DSLR footages.

We would like to complete post-production in the Adobe CS5 Suite. Change in first, Compositing & rank in Aftereffects with color finesse.

Our final production would be in 2 k DPX Master sequence @ square pixel aspect ratio - 2048 X 872

My doubts are as follows:
(1.) while working, we would need to PAN and Zoom in RED 4 k files. What is a good practice to do in cs5 first?
(2.) what are the setting of the recommended draft and interpret the images settings?
(3.) I plan to import all the footages as it should the first and assume like 24 fps using the parameters to Interpret images. Is that it is a good practice to do in cs5 first.
4.) since my output will be 2 k, is that what I can change RED 2 k settings to 2048 X 872 @ 24 fps @ square pixels format and continue to change?

I've been through this article
DAVTech Table - editing with RED 1.7 technical presentation. It deals only with RED.

Concerning
Siva

I do several framesize and format all the time of editing in Premiere Pro...  It's one of the things I like the most on the body.

You have a few options...

I would like to make a sequence setting personalized with your image size and frame rate objective.  It is a sequence of "desktop".  you will have simply evolve your material as you see fit.  Your RED can be shrunk to fit the frame, or pan and scan or a bit of both?

You can actually run the shade of color in the body if you have couple of the system.  I might suggest to take a look at Magic Bullet Colorista 2, it's a tool for color correction at the same level as the rest of the range of products of MB... all very good.

If you have decided to go this route, you will get the best color fidelity in the sequence settings and by ticking the 'binary maximum depth' that tends to do everything which is not limited to 8-bit (like your DSLR footage), as your RED and DPX files (I suppose in all cases), 32-bit float to preserve its color accuracy and color correct far.

HOWEVER, I myself would get a breathing fire Monster of a workstation to run this logical cores of way-8 hearts physical/16 MINIMUM with 16 GB of RAM with a card Quadro with a DisplayPort output out 10 bits for the ranking and then get a 10-bit display.

I think that with a computer system right, you'd be surprised to know how well Agency will accomplish this... and no it won't be cheap, but for any other route of NLE workflow, you'll be transcoding all... In the 1990s, I had 50 000.00/pc into Media 100 work stations with all exclusive components, etc... make everything...

If you have spent between 7 and 10 000.00 on a workstation for CS5, you would have a system that online publishers could not be photographed in their wildest dreams 5-7 years.

Tags: Premiere

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