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Dissolves popping from about 25% to zero
I’m noticing on my CC 9.2 dissolves are popping from about 25% opacity down to zero looking very much like a cut.
Could this be a cc thing?
Paul Mitton
Producer, Emmy Award Winning Director.
SkyIslandMedia.com
Creationtrek.com -
8 Replies
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So our brilliant IT guy just came in and turned off the hardware acceleration and everything is fine
He suggested it could be a video driver issue and updating the software for the video card could make things better or much worse
Paul Mitton
Producer, Emmy Award Winning Director.
SkyIslandMedia.com
Creationtrek.com -
Let us know more about your system. Without that information, everything is pure guesswork.
System:
Dell Precision T7600 (x2)
Win 7 64-bit
32GB RAM
Adobe CC 2014 (as of 7/2015)
256GB SSD system drive
4 internal media drives RAID 5
Typically cutting short form from HD MP4 and P2 MXF. -
Hi Paul,
Unfortunately, this has been a “feature” since CS6. Dissolves are not smooth unless Mercury Acceleration is set to Software. I leave GPU acceleration ON for editing, then switch to SOFTWARE for the export so dissolves come out looking correct.
Nothing to do with graphics drivers or Premiere version, it’s just the way it is. Crazy, I know!
Thanks
Jeff
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Disregard previous post, getting inconsistent results now that may not match my comments. Definitely an issue with my CS6 but CC 2014 is behaving differently on another machine.
Jeff
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[Jeff Pulera] “Dissolves are not smooth unless Mercury Acceleration is set to Software. I leave GPU acceleration ON for editing, then switch to SOFTWARE for the export so dissolves come out looking correct. Nothing to do with graphics drivers or Premiere version, it’s just the way it is. Crazy, I know!”
The issue is whether linear compositing is enabled or not. When dissolves are calculated in linear space (like film opticals), they feel “poppy” because the highlights come in fast and hard. When they are calculated in a gamma-encoded space (as was common with the previous generation of NLEs), the highlights roll in more smoothly through the transition.
Go to your sequence settings and uncheck “Composite in Linear Color” and see if that gets you what you want.
(Note that linear color behaves like light does in the real world, and can make your other compositing feel more natural, even if it does wreak some havoc with your dissolves. Turn this option off will affect how all blends are calculated in your sequence, and will make them behave the way they did in Premiere pre-CS6, and in FCP7.)
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
Because of this issue I’ve resorted to doing dissolves manually with keyframes, adding ease in and ease out and then adjusting the ramp to taste. Quite time-consuming but excellent results!
Interested to hear about the “Composite in Linear Color” option. Certainly dissolves in FCP7 were much smoother, will try this. But what practical disadvantages are there with the Linear Color option enabled? Will it affect keying for example, or colour grades? Or composite modes?
Cheers! Ken.
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I did a little writeup on this a couple years back, offering some explanation of what’s going on and providing opacity keyframe presets that make applying gamma-ish dissolves via keyframes in linear light very easy.
Changing the “Composite in Linear Color” option should only affect calculations where one layer is blended onto another. Your color grades shouldn’t be affected. Your keys shouldn’t be affected in terms of the qualifiers, but any semitransparent edges will render slightly differently.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
Great, thanks – will check this out!
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