Adobe Premiere Pro CS6 - Manual (Page 199)

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rendering Premiere Pro will make use of the color information in 10-bit assets and will upsample other assets in a sequence to generate 10-bit
preview files. Premiere Pro delivers the best preview performance when using these preview file formats on a system with a supported SD-SDI or
HD-SDI card installed.
Both these uncompressed formats do subsample video files at 4:2:2 YUV, but unlike the other file formats available for preview files, they do not
then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression, and
thereby retain much higher color depth in the previews than the compressed formats. As a consequence, uncompressed preview files can be quite
a bit larger than compressed preview files.
1. Select File > New > Sequence.
2. In the New Sequence dialog box, click the General tab.
3. From the Editing Mode menu, choose Desktop.
4. In the Timebase menu, choose the desired frame rate, such as 24, 25 or 29.97 frames/second.
5. In the Video section, choose the desired settings for Frame Size, Pixel Aspect Ratio, Fields, and Display Format. For example, 1920 x 1080,
Square Pixels (1.0), No Fields (Progressive Scan), and 30 fps Drop-Frame Timecode.
6. In the Audio section choose the desired settings for Sample Rate and Display Format.
7. In the Video Previews section, choose one of these sets of preview file formats and codecs, depending on your system:
For Windows, choose Preview File Format: Microsoft AVI and Codec: None (alternatively choose Uncompressed UYVY 422 8bit).
For Mac OS, choose Preview File Format: QuickTime and Codec: None (alternatively choose Uncompressed YUV 10 bit 4:2:2 or
Uncompressed YUV 8 bit 4:2:2).
You may see different file format and codec choices depending on your optional hardware capture/playback card.
8. (Optional) Check the Maximum Bit Depth check box if your system supports 10-bit or greater formats.
9. (Optional) If you plan to use uncompressed playback again, click Save Preset, give the preset a name and description, and click OK.
10. Enter a name for the sequence and click OK.
Create a sequence for RED camera footage
1. Select File > New > Sequence.
2. On the Sequence Presets panel of the New Sequence dialog box, select a RED R3D preset that matches your footage.
3. Enter a name in the Sequence Name field and click OK.
24p sequences
About 24p footage and sequences
Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced (progressive) fps is called 24p footage. This footage emulates
film in its picture quality and depiction of movement because the 24p frame rate is very close to that of motion-picture film, and each frame is built
from progressive lines (not from interlaced half-frame fields). 24p formats have become popular among low-budget digital filmmakers because they
lend a film look to its subjects.
To create a DV 24p sequence in Premiere Pro, you select the DV-24p sequence preset that matches the format and frame aspect ratio of your
footage. You can import files and capture footage as usual.
Premiere Pro includes two alternate 24p pulldown schemes for DV 24p: Repeat Frame and Interlaced Frame. Both options convert 24p footage so
that it plays back at 29.97 fps, but there are subtle visual and performance differences between them. You can select one of these options in the
New Sequence settings when starting a new DV-24p sequence, or change it in an existing sequence.
If you edit DV-24p footage in a sequence based on one of the standard Premiere Pro DV-NTSC presets, Premiere Pro uses a 24p DV pulldown
scheme to convert the footage to 29.97 fps interlaced video for playback to standard NTSC devices. You would use this method, for example, to
export your DV 24p movie to a standard NTSC format for mastering to tape or broadcasting.
If you edit 24p footage in a sequence based on one of the DV-24p presets, Premiere Pro, by default, manages the 24p pulldown scheme, so that
the video can be exported for playback on 24p NTSC devices. This allows you to export the movie to a file in a 24p format. You would use this
method, for example, to export your movie to a DVD for playback on DVD players and TV monitors that support 24p formats.
You can use the Adobe Media Encoder to export a 24p movie from Premiere Pro to Adobe Encore. You can open it in Encore, author your DVD,
then master and burn the project as a 24p MPEG-2 stream. The resulting DVD exhibits no interlacing artifacts on 480p-capable (progressive-
scan-capable) DVD players and televisions. Alternatively, you can export a DV 24p project into a format, such as still-image sequences,
appropriate for transfer to film.
Note: Premiere Pro accepts 24p and 24pA footage only from cameras using these schemes.
Not all 24p source media has a pulldown, nor does it necessarily require it. Many new formats are 24 progressive-native, (24pn).” No pulldown
scheme is applied to make them compatible with 30 fps video. Some P2 formats, all XDCAM and XDCAM-EX formats, and most AVCHD 24p
formats are progressive native.
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