Should I edit in an low res format and then export EDL?

M

maltess2

Well-known member
Hello, the situation is: I got mainly RED 4K footage to edit, then some mark II and other formats. I have all these same footage converted to Apple prores 422. I have Premere pro CS6 in an Imac. I know that using the 1/16 vision in premiere I can see the RED footage and edit

Should I edit in prores and then when I have a rought cut, export an EDL, bring this to a bigger computer, an then import the Red clips and make the final edit ?

Or Should I start working with the RED clips from the beginning with my Imac? like I said I can see them using the 1/16 option

What would be the benefits/disasters or going one way or another? anything that I have to take into consideration if go the EDL way?
 
I'd prefer to edit using native media. With RED's RAW files especially, you get access to things like ISO, Color Temp and more.
 
It all works whatever you choose. NLE can easily handle 4K natively. Or using Proxy ProRes is cool too to do the offline.
 
Editing in proxy and using an EDL type workflow is fine as long as you have your timecodes "matching" and your filename protocols worked out before it comes time to conform everything.

Test the workflow and post pipeline before you get too deep into it.
 
My problem is I have an Imac from 2008 at home, If I use EDL eventually I will go to an editing room with a proper computer to do the final edting, postproduction etc. I just want to do the rought cut at home with the Imac
 
Thanks, I never did this before, How I make sure the time codes and file names are going to work when I go to another computer to comform everything?
 
I did this on my last feature since my computer was 9 years old. I ingest the footage with Bridge where I rename everything by day. Day01_0000, Day01_0001, and so on. Then I used Media Encoder to create the offlines in a new folder, but I let it use the same file name. The clips were all downscaled to 240p. I did the offline edit in Vegas Pro 9. When I was ready to conform, I broke the movie into seven reels and exported an EDL for each reel. This was brought into After Effects where I used a plugin called Immigration to automatically conform the online. Then it was just a matter of grading and rendering.

Now that I use Premiere, the process would be much the same, except there's no need for an EDL. Just open your Premiere sequences in AE and run Immigration. After Effects isn't realtime anyway, so I don't mind grading in there.

That's just my process I did. Hope it helps.
 
maltess2 said:
Thanks, I never did this before, How I make sure the time codes and file names are going to work when I go to another computer to comform everything?
Click to expand...


You check that the Source Clip and your Proxy clip have the exact same time code.

You check that when you transcoded the proxy ...the filename is same or similar to the source name.

An EDL has to be able to locate the source file and it needs matched information to identify and locate it.

The application also has to be able to locate the actual file on a source drive as well so that needs to be worked out beforehand.

Some applications are quite clever at this. eg Resolve can conformson Timecodes and ignores filenames..but you need to have your sources well set up if you have identical timecodes in various clips.

BTW - dont know if MKII has any TC at all!

Do a test with a couple of sample files in a sample project across the computers is what I suggest.
 
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