In this first of a two part look at working in 4K in Media Composer, we look at the scenario of a client shooting 4K material, for a project that will only ever see the light of day in HD.
This was an interesting tutorial. 4K aquisition is coming to the front more and more, but in most cases, clients still only need to finish their projects in HD, so the question for me was, how do you tackle this in a tutorial. So, I thought I’d break it up into two. This first tutorial is a basic overview of the process of taking your 4K material, and transcoding it to work with in your HD project, keeping in mind (somewhere in the back of your head) that you might some day want to uprez the footage, to utilize features like Frameflex, to get a very different look from your HD online. There are a lot of things that you need to consider when working with 4K footage in your HD timeline such as the proper way to transcode different frame rates, if you ever plan on going back to the original 4K source material. What about FrameFlex and Color Encoding options? What about Color Correction, whether it’s Symphony, Resolve or even RedCineX Pro? This lesson scratches the surface, and covers transcoding, and the issues you might run into with multi-frame rate clips in your sequences. It covers a basic edit, and things to look for in your timelines to give you more information about the footage you are working with, and then we look at relinking to the original 4K content, in case the producer or director decides that they want to make adjustments to the sequence, that really only the original 4K footage can accomplish.
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