Best editting codec for Premiere Pro

[Dom Fisher]

Hi please can you see this thread and see what you think i have h.264 footage that is pixelated after exporting from pro and looks a bit pixelated whilst watching the viewer window, i converted to avi apple pro res and then placed in premmiere pro and it looked a bit better in the sequence viewer but should i be convertibg to quicktime pro res instead of avi before dragging clips into pro, see the link thread for info ,please help..https://forums.creativecow.net/thread/3/938532

[Andrew Chalkley]

Hi there, apologies in advance…first time post & an amateur hour one at that I’m afraid.

I have processed all our MiniDV movies using Adobe 5.5 into AVI files. They were originally captured on a 2006 Sony Cam.

Not being in the slightest bit expert in any form of video creation or editing I used Premiere thinking it to be a ‘standard’. I used vanilla settings out of the box & the capture of the video worked really well. I can view them on WMP & other PC based apps and put them to DVD easily enough.

The O/P file format is AVI & they play very well on everything ….except our choice of TV in the house, the Panasonic TX-L32DT30B which says ‘file not supported’

The Panasonic’s are hard wired into each room on RJ45. They are accompanied by a Sonos box & the data is stored on a QNAP TS 410 NAS & served up by Twonkey media server. Works a treat in the main.

I asked the question in AVforum & one member suggested it may be a codec issue & that the file is probably good. I looked up the DNLA & codec data but I do not know how to translate that into Premiere speak.

I saw this thread & thought it overlapped a little on my issue.

I guess the question is, what format or options (in Premiere) I should select to ensure my O/P material is watchable on a broad basis of hardware/software?

Secondly, what can I do to adjust the fairly large number of files I’ve already created to make them viewable on the Panasonic Viera machines we have in place.

If I need to re-process them I will do but of course would prefer not to if possible.

Apologies if I’m posting in the wrong section or if off message but help certainly appreciated as I’ve reached the end of my fairly basic video file knowledge.

The data below is Cut/paste from the Panasonic manual relating to AVI codec options as best I understand:

AVI .avi
.divx
DIV3 DIV4
DIVX DX50
DIV6 XviD
MPEG4 SP / ASP
MPEG
MP3
Dolby Digital • Certified to play DivX Plus HD video file
in Media Player
For details of DivX  “DivX” (p. 109)

[James Moritz]

Tom,

I’m freaking out you are getting 1000mb/s from your RAID. The best I’ve seen is 500mb/s from a Promise R6 attached using Thunderbolt. I’m assuming you are on a PC using a PCI card and a 10GbE connection?

I desperately need some help and advice on a shared RAID solution for Video editing. I need an inexpensive way for two workstations to be able to access jobs (not at the same time of course) without copying everything from one workstation to the other. I was wondering if you know anything about using a shared RAID system using 10GbE. I’m looking for a really simple and inexpensive way to access a really fast RAID system and share it with another work station so that two people have access to the files.

Your like looks like the system you are using a 10GbE connection. I was looking at a server going from Thunderbolt to an external cabinet with a 10GbE connector which is then plugged directly into the RAID server so that I could put 2 workstations sharing one RAID.

https://www.sonnettech.com/product/echoexpressse_10gbeadapter.html

connected to: https://www.simplynas.com/synology-ds3612xs-diskless-12-bay-sata-2-5-3-5-nas-server.aspx

These are usually really slow but with a 10GbE card and the machine connectly directly to the raid server its supposed to be super fast. I’m kind of leary of this as its an NAS…

Do you have any experience with a shared RAID system that has really fast speeds that doesn’t cost a fortune?

[Jacob Giacometti]

Hey I really appreciate your explanation. I have a question then: which is the fastest / optimal codec to use during editing in Premiere then? Please don’t answer H264!

[Walter Soyka]

[Jacob Giacometti] “Hey I really appreciate your explanation. I have a question then: which is the fastest / optimal codec to use during editing in Premiere then? Please don’t answer H264!”

Ha! The answer is definitely not H.264. I’ve been really happy with CineForm as a cross-platform intermediate codec in Creative Cloud applications.

This thread is now almost four years old, and there’s some news that will make this discussion obsolete. Premiere Pro will read ProRes natively, without a 32-bit helper process that’s dependent on QuickTime, in an upcoming release. The ProRes importer is Apple-licensed and Apple-certified:
https://blogs.adobe.com/creativecloud/apple-quicktime-on-windows-update/

That same blog mentions MOV-wrapped DNxHD and DNxHR, too, which are other good cross-platform intermediate codecs, and which will support export on both platforms.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Jacob Giacometti]

Thanks a lot for your feedback. OK I think I’ll keep using Prores proxy then.
Cheers!

[Danny Baron]

I am trying to make DNX proxies. I am confused by a couple of things. All my footage is h264. I shot some at 60p for slow mo — other footage is 24 and 30. Should I check “match source rewrap” to maintain my 60p for easier slow mo — or should I make everything 24p as that is what the project will be in?

Any suggestions re: which DNX to use? The choices are different than what I was used to having in AVID (DNXHD 36). Also it was never my job to transcode so this is all confusing to me.

I have to transcode because right after the shoot I leave town and will edit on a laptop which can’t keep up with the multicam using native h264. I tested it.

Thanks!

Danny

[Danny Baron]

I see now that it is not possible to choose match source.

My question then is if I have a 24p project and I want to slow some footage that I shot at 60p how should I set the transcode for my offline laptop editing? Do I make some ingesting at 60p and some at 24p? if I do them all at the same setting knowing I will return to the original footage at the end will that work?

Danny