Alex Udell
1
Premiere Pro Coin
Forum Replies Created
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Hi Duke…
I guess…
the theory would be….
why paint yourself into a corner?
Isn’t the idea of shooting flat to provide the most latitude in post?
Where as, if you try to shoot with a look, some parts of the range might be captured (clipped) in a way as to be unrecoverable to adjusted to your satisfaction?
Alex Udell
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Hi Trevor,
I think you have to look at the project scope and your computing power on hand to answer your question.
Certainly on legacy hardware, or with limited ram or GPU involvement, budgeting transcoding on the front end would give some peace of mind during editorial and exporting. This might be helpful if creatively, you tend to be stifled in cases where things get weighed down or you can see that you will be intend on effects heavy operations that will certainly repeatedly push you to a render state during creative decision making.
Also in those cases, if you are going to be client supervised, and don’t want to be “rendering constantly” to edit. Then it might be worthwhile.
So it’s all about the context you find yourself in.
The difference these days is that it’s no longer a requirement.
Hence you asking the question.
What was true of Prores in FCP is true of it in PPro. It’s a non GOP format so easy on the decode. File sizes are larger so plays better on local drives then over the network. And if your previews match the output master, then it will save some time in export.
The difference, then, is do you transcode all at the start. Or selectively during the edit via the “Render Effects in to out” and “Render In To Out” ? I guess I can’t really answer that for you. But you can ponder and do some tests up front to see what you think.
HTH,
Alex Udell
Editing, Motion Graphics, and Visual FX
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Depending on your thought process…
Timeline Resolution can be
1) Same as Source if it’s homogeneous
2) Whatever you want to make your master for multiple deliverablesRegardless and independent of that you should be able to set your Preview Codec.
ProRes should be an option for that if you’d like to use it.
The more of your timeline you force to render in that Preview Codec can benefit you on the export, assuming you also export to a “SAME” ProRes Master, where PPro can reuse those ProRes Previews on Export.
I say “force” because, as you know, it’s not always necessary to Render to see something in PPro. So if there is no preview of something displayed in real time, then you won’t have the export benefit for those parts of the timeline, which can weigh down the export process.
Alex Udell
Editing, Motion Graphics, and Visual FX
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Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
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Hi…
Once you have established the sync relationship….
can you use the Link function to treat them as unit in the edit?
Clip menu > Link
or is this not an acceptable flow…?
Alex Udell
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Examples: Retail Automotive Motion Graphics Spots
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He wants to checkerboard the edits between a couple of tracks, I think…
since you have multicam edits…
with the sequence panel active
use the Find Command (command or control F)
search for all clips with a matching name
Find ALL
drag to a different video layer…
that ought get you where you want to go….
Alex Udell
Editing, Motion Graphics, and Visual FX
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In your case…
a permanent switch…
you’d no longer be using the image sequences…
you’d change them to this before editing with the files…
Alex Udell
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What is it? Metadata in an AIF Or MP3, etc?
Alex Udell
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Examples: Retail Automotive Motion Graphics Spots
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Tero…
If you had a single SSD dedicated for media and attached via SATA….you think that would be sufficient?
Alex Udell
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Hi….
Well, if it was shorter format, I was thinking maybe After Effects might be a better choice…..with it’s RAM preview and all. But if it’s an hour, that’s not gonna work.
You and Tero are on the right track. Flipping the footage to a stream from an image sequence may be a good bet.
Not sure about the error compiling movie issue.
If you can’t get it tow work directly in AME….then After Effects might be a good bet, as it handles Image sequences pretty well.
H264 is a good choice as it’s low data rate for smaller files, and file sizes overall. Since it looks like you have a good graphics card, Premiere ought to be able to handle the the decode ok.
You might consider the GoPro Cineform codec as well. Adobe touts this as their finishing codec. Lighter compression than H264 so the files will be larger, but should still playback from your drive. This codec also has optional alpha channel support. So if you’re layering image sequences with alpha, flipping them to this will let you maintain the alpha.
I just flipped 30sec of 3840 x 2160 ftg to Cineform.
My OLD 1,1 8 core Mac with ATI gfx (meaning Mercury Playback Open CL), seemed like it could play it back at 1/2 res or lower in the source viewer and the matching sequence. This is coming off a single internal SATA 7200 RPM drive for media storage.So I’d do some tests….but that should help.
Alex Udell
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Hi….
the overall cpu spec is quite good.
RAW 4k sounds like you drives won’t keep up with that.
When you say .mov, what codec?
How is the RAID attached to your system?
My guess is that the data rate is too high for a 2 drive array.
You might flip the footage to GoProCienform, ProRes, or DNXHD, to reduce the demand on your drives and it’s connection to your CPU.
hth,
Alex Udell
Editing, Motion Graphics, and Visual FX
Let’s Connect on Linkedin
Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial