Next do your cutting, lock off your pictures and export the timeline as XML. This speeds up the edit process, because the files will be smaller, so it will be more responsive, with less rendering time etc. you can use 8-bit instead of 10 or 12 bit. This intermediate doesn't have to be at the highest settings, e.g. Now you export the output to Premiere, using an intermediate codec and importantly exporting as individual clips with the same file name as the original (but in a different location, obviously). This shouldn't take too much of your time, you just want the footage to be usable for your edit. It's called 'one light' because you don't grade every shot, you just set a ballpark grade for each scene and apply it to everything. Make a 'one-light' grade of your raw footage-where you correct any obvious problems such as white balance and exposure, and apply any necessary LUTs if your camera uses a profile that needs correction.

There's a reason why colour grading was usually done last. It is possible that there are interactions between using one codec for intermediate and one for final export but they are going to be subtle, and assuming the quality of the codecs are roughly the same, whether it's better to use the same codec in and out or mix it up, is anyone's guess.Īnother option is to change your workflow. Then that raster gets recompressed to the final export codec. When you edit the intermediate it is decoded into a raster that has whatever resolution and depth your editing software uses internally, but we can assume that it will be higher quality than the intermediate or final codec. There are advantages and disadvantages of each, but the final container format that you export to doesn't really affect that choice. Cineform is fine, as is DNxHR and ProRes.

Video output codecs for adobe premiere