![]() Then use the same settings to render out your proxies. Follow the same steps as we did above, but add each camera bin to its own timeline. If you go down the other path (keeping native frame rates as they are), the process is even more straightforward. We’ll discuss options for rendering different frame rates in the individual clip rendering section later on. 709 transcodes in a codec like ProResLT or DNxHD36 at 1080p, with matching file names and embedded reel names. A good options for most workflows is to stick with Rec. Whenever you make transcodes, you’ll need to decide on color space, resolution, file names, and reel names in the delivery page as well. You can call it something like CameraName_Transcodes_Date. If this is the path you want to take, you’ll first need to go back to the “Changing Clip Attributes” section in part 2 to quickly recap what we’re talking about here.Īfter you’ve changed the clip attributes to match, take each camera bin and add the media to a timeline. Changing Native Frame Rates Before Creating Proxies A mezzanine workflow can be really helpful on longer-form pieces with lots of mixed frame rate source files, but can be an unnecessary burden for some smaller/quicker projects. But more and more companies are seeing the benefits of creating mezzanine formats like DPX, OpenEXR or ProRes444/DNxHR. In most traditional commercial post-production workflows, native frame rates are maintained throughout.
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