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Exporting Feature Shot on RED Helium + RG Denoiser: will it be ready by 2030?
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Did you say you were using a 2010 macpro? I would think that’s gonna be an enormous issue when it comes to render times.
Noise reduction is almost always a trade-off between sharpness and noise. I’ve worked extensively with neat video in AE (sending comps from premiere) and supervised an 16mm feature doc restoration in resolve which used a global noisereduction using the built in resolve noise reducer. Unless I’m missing something, Neat requires setup on a shot by shot basis but seems to do a much better job. Not sure how the rendering times compare, but I found the Neat interface to be much more responsive in AE over Premiere. Generally, I render out my comp in AE in a highquality format like prores 422hq and place it directly above the AE comp in my Premiere timeline so that will save you a great deal of time in your final output.
And you talk about rendering in Premiere. Hopefully you’re aware of the smart-rendering workflow where you set your preview format to match your intended export format and check “use previews” in the export dialog.
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Yep! 2010 Mac Pro with a little bit of TLC (2 x 3.46 GHz 6-Core Intel Xeons, 96 GB RAM, Radeon RX 580 8 GB). You’d be surprised how well it plays back Helium’s 8K files.
And yep. Fully aware of the smart-rendering workflow. Utilizing it throughout the duration of this project.
My main issue now stems from AE dynamic linked comps playing back with lesser quality in PP. The linked comps inexplicably have less noise, different shadow colors, and seemingly an overall lesser quality to the image, despite the exact same camera settings in PP and AE.
I spoke with Adobe last night for over an hour, and they still couldn’t solve the issue (forwarding me to a senior team member).
My guess is that it has something to do with RED’s new IPP2 image pipeline. Or one little setting that I’m missing in either AE or PP.
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I feel for you Sean and hopefully, you get this resolved.
My experience with RED is old school.
Owner of a Scarlet (RED ONE prior) currently and still uses RCX to conform to editable footies.
I have edited full features using 6K to 8K projects but that gets handed down to me in Avid or some other format e.g. ProRes, DNxHR, etc…
Hopefully, you get this fixed, and please reply with your findings.
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what happens if you render a file in AE and place it on top of the AE comp on the premiere timeline? Do you still see the loss in quality, etc.?
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Just tried a couple different renders and yes, the problem persists with all of my attempts.
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can you render out of AE to match your source properties? Send a clip to AE without any effects applied and render it out without applying any effects? Does the output match the source clip in Premiere? Getting things to match can be tricky but should be doable. If you could a link to a short clip, happy to see what I can figure out. Recently had to export a few short clips from a resolve project into Premiere and/or photoshop to do some repairs. The resolve operator could not match back into the resolve timeline, but after doing some digging we were able to make it match. Should be simple, but it often isn’t.
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I’ve just spent another FOUR hours trying to solve this mess with no luck. My brain is spinning every which direction as I spend much needed time problem solving, rather than editing.
Here is a link to two sequential frames: https://www.dropbox.com/sh/ik427nbogycncqr/AAA5zj9WWKnfY03K-XuJQS_ya?dl=0
The first being properly color corrected, the second being when Dynamic Link leaves its green-toned, softer skid mark.
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what I need for the first step is a short clip without any effects (or color correction) to see if I can send it from Premiere to AE and then render it out so it will match the clip in the premiere timeline… Then we can see if adding effects in premiere or AE causes any issues.. make sense?
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GENTLEMEN!
I think I may have discovered a possible root of the problem (well, at least I think I think).
This same issue with the changing color of the Dynamic Linked AE comps was also happening with a post-zoom effect native in Premiere Pro. I reenact a zoom by scaling up the 8K footage in my 4K comp, however, the goofy color shift would end the second the scaling keyframes were finished.
After endlessly and aimlessly messing around with many settings, codecs, timelines, etc….I was able to relinquish the post-zoom debacle in Premiere Pro! Starting a new sequence in PP with the original source clip’s settings (8K sequence) and trying to recreate the same effect, the color shift was NOT present during the scaled zoom. I dropped the same clip into my working 4K timeline and SCALED TO FRAME SIZE to try it again….and it didn’t exist. I then noticed the kicker: my video files currently in use are NOT Scaled to Frame Size, but I rather MANUALLY decreased the scale to 50% to fit the sequence via the scale slider in the effects tab (don’t worry, it’s a one-take film so I wasn’t doing this hundreds of times). With that said, my existing clips’ scales read 50% (scaling down from 8k to 4K) and the newly successful zoom clip’s scale reads 100%, yet both yield the same quality. (I blame the hiccup on this being the first time for me shooting anamorphic, as there were a lot of odd sequence size calculations on my end dealing with the x2 post-stretch)
Could manually scaling vs. Scale to Frame Size be the issue to all of this? All of my AE clips are scaled to 50% via AE, and they were when I clicked “Replace with AE Comp.” I know AE’s “Fit to Comp” displays the proper scaling percentage, but apparently PP just automatically considers it 100%.
Considering I have over 70 linked AE comps, I really do not want to redo this massive amount of work (hell, or even re-link them all). Do any of you incredibly helpful geniuses have any input? Or is this scaling issue in PP unrelated to AE?
(I will attempt a render in AE later on tonight).
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