by Dario Bigi, CSI, Freelance Editor / Colorist
As an Editor for 25 years and a Colorist for 8 years I am well versed in the many pitfalls found in post production. I wrote this article for Editors & Colorist to avoid this gotcha.
This is specifically for Premiere Pro Editors to implement as they edit and use as a Best Practice for any workflow. Sometimes your cut will never leave your system or software… but how many times has that been decided before your project starts? How many times has that changed once you’ve reached picture lock? So this is a simple procedure to follow to future proof a Premiere Pro to Resolve workflow (also good for round tripping now that SpeedGrade is gone).
Many of our projects these days use footage that has multiple resolution sizes from multiple cameras. HD, 2.5k 4k 5k and so on, within one timeline. At the time of this article many of those file sizes are still cut into an HD (1920×1080) timeline for output. This practice also applies for any timeline resolution output variation.
Simply put when editing any Non Matching Resolution footage (2.5k 4k 5k and so on) into an HD timeline (1920×1080) right click on the clip and choose: Set to Frame SizeNOT Scale to Frame Size.