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Camera workflow guides in Adobe Premiere Pro CS5 and After Effects CS5

RED digital cinema (R3D)

“Using Adobe Premiere Pro CS5 with RED digital cinema content”

This paper gives an overview of working with RED (R3D) digital cinema files. I point to more technical detail about working with RED (R3D) files in this post: “new RED color science, and how to make it all work with After Effects CS5 and Premiere Pro CS5”.

Panasonic P2

“Adobe Creative Suite 5 Production Premium: End-to-end workflows for Panasonic P2 and P2HD cameras”

This paper describes working with footage from Panasonic P2 and P2HD cameras in AVC-Intra 50, AVC-Intra 100, DV, DVCPRO, DVCPRO50, and DVCPRO HD formats.

Part 1: aquiring and archiving P2 footage

Part 2: working with P2 footage in Premiere Pro CS5 (more detail here: “Import assets in tapeless formats” and “Export to Panasonic P2 format”)

Part 3: working with P2 footage in After Effects (more details here: “Import assets in Panasonic P2 format”)

Part 4: delivery options and working with P2 footage in Adobe Media Encoder

AVCCAM

“Adobe Creative Suite 5 Production Premium: End-to-end editing workflows with Panasonic AVCCAM cameras”

This paper describes working with footage from Panasonic AVCCAM cameras using the AVCHD codec.

Part 1: aquiring and archiving AVCHD footage

Part 2: working with AVCHD footage in Premiere Pro CS5

Part 3: working with AVCHD footage in After Effects

Part 4: delivery options and working with AVCHD footage in Adobe Media Encoder

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