![]() ![]() ![]() Premiere has the ability to create Proxies for you based on encode presets you create through Media Encoder, but if you are working with a range of aspect ratios within a single project, Premiere ends up being a bit of a pain in creating the proxies. You can read a full article on Premiere proxy workflows here. Premiere makes it super easy to toggle back and forth if your proxies and full-res media are both connected. Every camera manufacturer has their own type of log color profile, tuned to the hardware in their different cameras. ![]() All high-end cameras these days make an incredible image, but I really appreciate anything that makes my workflow faster and more efficient. But of all the cameras and codecs that we see on a daily basis, Arri footage is loved in post-production just as much as it is on set. ![]()
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