problems with h.264 .mov clipwrapped from .MTS not playing in premiere

[Shane Ross]

Begs the question…why are you re-wrapping if PPro edits the MTS files fine?

Shane
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[Eddie Adams]

Because I need to be able to rename the files. When premiere loses it’s link with the .MTS files it tries to re-link to 00000.MTS, 00001.MTS etc. and it makes relinking far too complicated, especially with multiple cards and multiple clips named 00000.MTS by the camera. Re-wrapping them into a .MOV bundles multi-clip streams, including metadata, and allows me to freely rename them. Unless you have a better workaround?

[Shane Ross]

Ah. Convert to ProRes, or DNxHD. Yeah, the file sizes will increase, but they’ll be easier to edit.

Does your computer have CUDA enabled? Meaning a good GFX card to add GPU to the mix? Fast Processor? GOBS of RAM?

Shane
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[Eddie Adams]

DNxHD is not an option as I sometimes need to pull the same footage into FCP7. ProRes I toyed with but the resulting file size increase didn’t justify the minor improvements in speed I was seeing, and those speeds were truncated by the extended time it took for the transcodes to render out. It’s a 2.7 i5 w 8gbs RAM.

[Shane Ross]

First you say…

[Eddie Adams] “DNxHD is not an option as I sometimes need to pull the same footage into FCP7. “

Then you say…

[Eddie Adams] “ProRes I toyed with but the resulting file size increase didn’t justify the minor improvements in speed I was seeing”

So…if you sometimes need to bring the footage into FCP, you should be converting to ProRes. FCP doesn’t work well with MTS re-wrapped. No sequence settings for it…and you’ll have sync issues. If not initially while editing, you will when you try to export. If you need the footage for FCP and PPro…convert to ProRes. IMHO.

[Eddie Adams] “It’s a 2.7 i5 w 8gbs RAM.”

You are on a bare bones system. And AVCHD is notoriously the hardest HD format to deal with. 16GB of RAM minimum for PPro. And a good graphics card to enable CUDA.

Shane
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[Eddie Adams]

Valid argument. Never brought the H264 into FCP, would convert to ProRes when that was needed, but also looking for a solution that doesnt involve encoding to ProRes unless needing to work outside of Premiere.

It’s an iMac so limited by what I have hardware wise. Will try enabling CUDA and seeing if that offers a solution to the problem, although I suspect not.

Again, my issue is that the .MTS files play/edit/etc with absolutely no problems, but I’m seeing huge issues with the Re-wrapped .MOV files – seems like hardware limitations would have little factor in this, but correct me if im wrong.

[Alex Udell]

Hiya…

purely conjecture

but native MTS will use a lot of the mercury goodness which is a 64 bit path simply because it’s recognized as an MTS file.

re-wrapped as .mov….well now PPro sees that as a quicktime file and and has to revert to a 32 bit path thru quicktime… and the fact that it’s not a truly native quicktime codec but rather a soft pointer file to the original source probably adds a whole other layer of voo doo to the stream decoding.

that’s my best guess anyway….sorry it’s not a solution….

but the crux of your issue is the renaming….and file collision mgmt on relinking.

there have even some threads on here about utilizing Prelude with MTS for the purposes of organizing and naming files without transcoding which might be beneficial….I think within the last 30 days or so…

search Prelude and MTS here and see what pops up.

let us know…please….

hth

Alex Udell
Editing, Motion Graphics, and Visual FX

[Eddie Adams]

[Alex Udell] “but native MTS will use a lot of the mercury goodness which is a 64 bit path simply because it’s recognized as an MTS file.

re-wrapped as .mov….well now PPro sees that as a quicktime file and and has to revert to a 32 bit path thru quicktime… and the fact that it’s not a truly native quicktime codec but rather a soft pointer file to the original source probably adds a whole other layer of voo doo to the stream decoding.”

Interesting. I was originally avoiding using ProRes in PPro because of the 32-bit issue, I didn’t realize that PPro processed all .MOV’s in a 32-bit path. This is due to a limitation in Quicktime? So this brings up the question – why is a program like FCPX able to process QT/ProRes/H264 in a 64-bit path but PPro isn’t? Or is that a mis-understanding that FCPX is utilizing 64-bit paths for those files when actually it’s 32-bit?

[Alex Udell] “there have even some threads on here about utilizing Prelude with MTS for the purposes of organizing and naming files without transcoding which might be beneficial….I think within the last 30 days or so… search Prelude and MTS here and see what pops up.”

I did do some initial research but more related to my issues with the H.264. I’ll look into Prelude as an option and report back. Thanks for your killer response, very helpful.

[Alex Udell]

[Eddie Adams] “Interesting. I was originally avoiding using ProRes in PPro because of the 32-bit issue, I didn’t realize that PPro processed all .MOV’s in a 32-bit path. This is due to a limitation in Quicktime? So this brings up the question – why is a program like FCPX able to process QT/ProRes/H264 in a 64-bit path but PPro isn’t? Or is that a mis-understanding that FCPX is utilizing 64-bit paths for those files when actually it’s 32-bit?”

The Adobe gurus can clear up the underlying tech for you. My information comes only from some of the detailed responses I’ve seen in this forum. As I have never even touched FCPx can’t speak to that either, but knowing how Apple is, it wouldn’t surprise me if they gave themselves and advantage not open to other developers (yet)….if that’s the case.

Alex Udell
Editing, Motion Graphics, and Visual FX