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Adrtghhjj
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Question about importing

Sep 19, 2013 1:51 AM

(This question isn't referring strictly to Premiere Pro, but to any NLE.)

 

Considering a movie that has the following properties: is high-end (not consumer or broadcast-grade), is digital, doesn't involve animation (2D or 3D), only camera footage:

-What is the standard format of file that is loaded into the NLE; i.e. the file that is in the bins and the Timeline, for cutting, trimming and adding transitions purposes?

-Is it video or image sequence? Is so, what type/format?

 
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  • Currently Being Moderated
    Sep 19, 2013 2:00 AM   in reply to Adrtghhjj
     
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    Sep 19, 2013 7:08 AM   in reply to Adrtghhjj

    Ann's link perfectly answered the question in regards to Premiere. .Regarding other NLEs, they will each have their own set of rules as to what formats you can work with. There is no single "standard" for footage to be edited in an NLE. Most of them can accept whatever your particular camera outputs. "RAW" is a specific type of file and I don't think you were referring to that necessarily, so I would say yes that most NLEs can edit the "raw footage" from the camera meaning it does not need to be trancoded (converted) to something else first.

     

    Perhaps you can be more specific as to the origin/purpose of your question? It comes across as if you're looking for the answer to a bar bet ;-)

     

    And also, how can a movie be "high-end", yet NOT "broadcast-grade"? That seems contradictory

     

    Thanks

     

    Jeff

     
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  • Currently Being Moderated
    Sep 19, 2013 7:24 AM   in reply to Adrtghhjj

    If you are shooting digital, it can be handled one of two ways. Native or transcoded.

     

    Regardless of the "quality" of the footage.

     

    Having said that, the higher the quality, and by that I will assume you mean the closer to 4:4:4, the more likely that your computer will not have the processing power or hard drive speed to get it off of the disk fast enough to edit it.

     

    If native, then you might be forced to use proxies to help you while you edit.

     

    Just for reference, Premiere Pro has presets for the footage from an Arri (ARRIRAW at 2K using 1920X1080) and RED R3D files at 4.5K.

     

    It doesn't get much more high-end than that. Is that the kind of footage you meant? Because as pointed out already, some NLEs can handle it, and some can't.

     
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  • Currently Being Moderated
    Sep 19, 2013 7:27 AM   in reply to Adrtghhjj

    Maybe you should refrase the question.

    I have so and so footage and want to make it into so and so.

     

    high-end (not consumer or broadcast-grade)

    What kind of footage is it exactly?

     
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    Sep 19, 2013 10:35 AM   in reply to Adrtghhjj

    One additional observation, that might be nit-picking, or perhaps helpful to getting the answer:

     

    What is the standard format of file that is loaded into the NLE; i.e. the file that is in the bins and the Timeline, for cutting, trimming and adding transitions purposes?

    The original camera files are not in the Bins, or on the Timeline. PrPro only links to those original camera files to first extract the data from them, then re-access those files, to extract data, when one Exports. The files, themselves are not in the Project - only links to them.

     

    Also, as others (Steven in particular) have alluded, different NLE's do things differently. PrPro, as an example, will Import and edit most file formats/CODEC's natively, when some others do not. Those other NLE's do an internal conversion to proxy files, which are then edited. It can differ, program to program.

     

    Good luck,

     

    Hunt

     
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  • Currently Being Moderated
    Sep 19, 2013 6:41 PM   in reply to Adrtghhjj

    I suggest you avoid getting ahead of yourself.

     

    Pick a format that is appropriate for your camera and your editing software.

     

    That is what the big boys do.

     

    Let's take the movie "Gravity". Is that Hollywood enough for you? They shot it on an Arri and edited the 2K DI. As I said before, Premiere Pro can do that natively.

     

    Capture.PNG

     
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    Sep 19, 2013 8:00 PM   in reply to Adrtghhjj

    As Steven points out, above, Hollywood will make a lot of pre-shooting decisons, and if Video is used (as opposed to film), DI (Digital Intermediate) considerations, plus the specific cameras, will be part of that discussion.

     

    Some Directors/DP's might decide to go with Arri vs RED, or several others, but those are studied decisions. Also, many will ask for input from their post-house, as some prefer one format/CODEC vs another.

     

    For additional reading, and consideration, there are many recent articles in American Cinematographer, on some of those decisions. Those are well-worth reading. I am often amazed at all of the considerations taken into account, when starting a production. Once, we only really worried about lenses and the film stock (plus processing/printing), but those discussions have expanded greatly, with video. That will get more complicated every quarter, as more options become available.

     

    Good luck,

     

    Hunt

     
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  • Currently Being Moderated
    Sep 20, 2013 1:20 PM   in reply to Adrtghhjj

    on the editors' HDD's, what form does the DI take, as a file?

     

    That will vary with the editor.  There is no one standard format or method here, there are many.

     
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    Sep 20, 2013 1:35 PM   in reply to Jim Simon

    sometimes people tend to make things more complicated than they need to be by not explaining the basics...as you are asking.

     

    If I shoot with an alexa camera I have the option of recording to a 'card' on the camera ( usually log c which is a kind of raw and pro res combination ). The manufacturers of cameras make up their own special 'recording' stuff to make the cameras suitable to shoot on locations etc.

     

    the red camera has their red raw formats, my nikon d800 does mov h264.. everything is different according to the manufacturer. There are standards ( based on broadcast and movie specs ) but basically the words 'digital intermediate' can be very misleading. It almost sounds as though you will edit something that is ' in between' the source footage and the final export ... like a 'proxy' sort of file.

     

    It can be that, but more than likely it is not for most people using adobe products.

     

    unfortunately this stuff is so complicated on the pro end of things you will get many answers like the one above.. which doesnt really address the question at the root .  There are some good sites online regarding specific manufacturers of cameras and how the material is best 'edited' and so on.. look up panavision and arri and red... and good luck.. it aint easy figuring this stuff out... but luckily you have a good start here ..

     

     
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    Sep 20, 2013 1:39 PM   in reply to Adrtghhjj

    Could you give me some examples that are common

     

    I kind of get the feeling we may be dancing around the real issue/question here, that you may be trying to glean some info so you can make a decision.

     

    It would be quicker (and possibly better for you) if we just cut to the real issue.  What is it exactly you're trying to solve here?

     
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    Sep 21, 2013 9:02 AM   in reply to Adrtghhjj

    That is what I really want to know: not so much "what is the best format for that NLE/camera" , but more "what would not be unacceptable, *unreasonable* formats for the high-end"?

    Way more formats are unacceptable than acceptable.

     

    In most cases, we could just say that anything lossy is bad, anything not lossy is probably OK.

     

    So no JPG. No GIF.

     

    There are image formats that are lossless. DNG is lossless and was designed by Adobe.

     

    Perhaps you might want to start here:  http://en.wikipedia.org/wiki/Digital_cinematography

     
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  • Currently Being Moderated
    Sep 21, 2013 10:02 AM   in reply to Adrtghhjj

    No, I don't have a purchase or career decision to make. I'm not even in the movie-making business and I don't own or plan to own a camera. I just want to know because I was curious. That is all.

    Why did you not say in the first place.

     
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  • Currently Being Moderated
    Sep 21, 2013 10:20 AM   in reply to Adrtghhjj

    What I need is some concrete, definite names of file formats that would not seem *unreasonable* to a high-end studio to work with.

     

    It's probably best if one asked the studios one wants to give one's media to what formats they will accept.

     
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