Adobe premiere pro export in log format12/15/2023 ![]() Colour managed workflows such as this new one in Premiere or ACES etc are the way forwards as LUTs are no longer needed for colorspace transforms, the edit and grading software looks after this for you. This is fine, but you do need to consider that it is likely that at some point you will need to learn how to work across multiple colorspaces and using LUTs as colorspace transforms is very inefficient as you will need separate LUTs and separate grades for every colorspace and every different type of source material that you wish to work in. The workaround if you don’t want to change. If you mix log footage from different cameras they will all look quite similar and you won’t need separate LUT’s for each type of footage or for each final output colorspace. For example S-Log3 and Rec-709 material in the same project will now look very similar. A big benefit of this comes when working with multiple sources. This isn’t a bug, this is Premiere catching up and getting ready for a future that won’t be stuck in SDR Rec-709.Ī color managed workflow means that you no longer need to use LUT’s to convert your Log footage to Rec-709, you simply grade you clips within the colorspace you will be delivering in. It won’t be long before delivery in HDR (which may mean one of several different gamma and gamut combinations) becomes normal. It is fair to say it is one of the closest formats to Prores on a PC.as it is so easy to select different quality settings (that are very similar to the prores presets) and without the ball ache of installing additional codecs if you ever needed the deliverable master file to be sent to a Mac based editor or broadcaster.Colour managed workflows such as this are now normal in most high end edit and grading applications and it is something we need to get used to because Rec709 is no longer the only colorspace that people need to deliver in. File sizes can be reduced to impressive amounts for the visual quality of the file. ![]() I can personally recommend 10 or 8bit DNxHD masters for cross platform compatibility (Mac/pc playback) - as well as being compatible for uploading to Vimeo (as also previously stated in. ![]() This may be Cineform, DNxHD whatever.but you will quickly find what works (regarding file size limits for upload). Find the best balance of file size vs quality for uploading or sharing. Avi as a master format as aaronchicago mentioned, this is how I used to do it- then spit out any compressed flavour of file from that file using AME. But since you are on PC - you could export uncompressed. If you have the storage space, you could use whatever format you want to master in. In a nutshell Prores and DNxHD are most common formats for TV broadcast 'masters' (at least for here in the UK) - often they also require a compressed SD MPEG version for compliance. Think you may be confusing Cineform with Cineon format?Ĭineform is now owned by GoPro (make of that what you will) Something about it being close to how they scan film ? Not sure but I hear its really really good ! Will report back with results ![]() I once heard on the net that cineform is about to be the new standard for mastering footage. I'll try out the cineform, I really REALLY appreciate the tip. See if it is supported.Ĭheck to see which one is best for you after uploading, and if 2 is worth the extra time. Export to uncompress AVI and then use a trancoding tool for prores.Ĥ. What I would do is use the smallest sequence that vimeo allows and use different codecs:ġ. mov wrapper through premiere that I believe is supported with Vimeo.Ĭineform is also as good as prores and there has been some talk of vimeo trying to support it. There are some reports that it can work but not that great.
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