[Angelo Lorenzo]

I had a similar issue as you, I can’t recall the exact error message but it was from a corrupted image in the sequence. The files, like in your instance, were all transferred over the internet without being wrapped in a zip file.

I found this old thread https://forums.creativecow.net/archivethread/2/627254 with an interesting answer. Sounds like Adobe programs are sensitive to the corrupted portion of the file if this is indeed the case:

”
Mac files contain two “forks” — a data fork and a resource fork. Pc files only have a data fork, which is why they require a .psd (or whatever) to identify the filetype. In your case, it’s possible that the resource fork got corrupted during a transfer, usually via internet where files are broken up into packets then re-assembled on your desktop. (That is why I advise anyone to send me files other than jpeg stuffed in Stuffit, the unstuff it. Somehow it works. Same goes for transferring fonts.). Could also be from files that were burned to CD by a lousy burner or the computer was being used for other RAM intensive programs wile the disk was burning. I’ve gotten a few CDs where files were incomplete or corrupted this way — most recently from someone who admitted he bumped his laptop in a cab while the disk was burning.

“file end” errors also happen a lot on downloaded files where the download was either paused or stopped too early. Best thing is to get questionable files’ layers drga/dropped into a new file before it gets woven into an animation — or have your clients send you a friggin CD that’s been verified.”

Try resaving the files around the corrupted frame/failed frame into brand new jpegs created by Photoshop.

– Angelo Lorenzo
– An iPhone 4S tribute to Steve Jobs
– https://FilmsFor.Us Sell your film and connect with your audience

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[Angelo Lorenzo]

Oh, and as far as general hardware investments, consider switching your lightbulbs in your room/office with full daylight bulbs (rated for 6500k or marked D65; if they simply say “daylight” or “enhanced spectrum” bulbs, they may not be D65).

This removes color bias in your environment. Some people say you can get away with grading in a dark room, but proper neutral lighting will reduce eye fatigue. They run ~$10 a bulb.

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

Premiere Pro (starting since CS5 I believe) has been touted as having accurate YCbCr -> RGB conversions that remains color accurate with adjustment effects with the YUV or 32-bit logo next to them in the effects bin.

This means that if you have a monitor with a calibrated ICC profile (like the Spider unit can provide; I use the older Spider 2) you should be fine.

Of course you’ll still need to be able to read the video scopes in Premiere to make more accurate adjustments and to confirm it’s broadcast legal.

Premiere Pro is more suited for Rec. 601 and 709 work (television,dvd,blu-ray), but I would step out to After Effects for some work as it has more flexible color management settings; you can preview color profiles of theater film stocks and other exotic outputs.

I know some of the more old-school guys would prefer an output box like a Matrox to a broadcast monitor, but I’ve seen no appreciable difference in my work that I’ve graded for broadcast with CS5+ unless they can sway me with some obscure detail I’m not aware of.

As far as photography, a calibrated monitor is all you need. If you do in-house art prints or scan film you may want a separate system to calibrate your scanners/printers but if you work with a major printing house or publisher, they should have ICC profiles on hand for you to preview your work through in Photoshop.

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

I’m not a C4D expert but have you tried unsqueezing 1440 x 1080 to a full 1920 x 1080? Maybe C4D just doesn’t play well when the pixel aspect ratio isn’t square (1440 x 1080 straight from camera usually sets a 1.333 pixel aspect ratio; rectangular pixels basically).

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

What version of Premiere Pro are you using? I feel like you can tackle this with less round trips to other programs.

1. You get a DVD or a MOV(DV) file. Are you ripping the DVD or taking the MPEG-2 file directly off?
2. In either case Premiere Pro (I assume you have CS4 or newer) can do IVTC/Deinterlacing on the original files, reducing the need to transcode them for Virtual Dub.
3. Premiere Pro/Adobe Media Encoder can also scale the output, so again no reason to bring it out to MPEG StreamClip.

Since you’re using Sorenson Squeeze (that’s my choice too) and you’re using Windows since you’re also running Virtual Dub, have you looked into a frameserver?

https://www.debugmode.com/frameserver/

This is a free plug-in for Windows. You export from Premiere with this set as your “codec” and it creates an AVI file. Drag this AVI file into Sorenson Squeeze and do your final compression there. The frameserver basically uses this dummy AVI file to hand Sorenson the video directly from Premiere, saving you another render, time, and temporary disk space.

Is there any reason you’re using VirtualDub over Premiere for IVTC/Deinterlacing? Unless I’m missing a big piece of your reasoning, I think the frameserver can simplify your workflow greatly.

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

Is there any reason why you need a completely lossless video? Perhaps we can skip all of the speculation and get to the meat of what you may actually need.

I’ve not used SheerVideo, but it doesn’t seem to be a well known intermediate codec like Cineform (SheerVideo being lossless, Cineform and other intermediates like ProRes and DNxHD being slightly lossy).

If the trial works in all of the video programs you use on your system and you like it, go for it as far as internal workflow. I don’t know if I’d be so keen in expecting any outside vendors or clients to own this codec though.

You could give Avid’s DNxHD codec a look, it’s free and more of a standard in the industry (basically Avid’s internal codec, counter to Apple’s ProRes) https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=372311

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

After Effects isn’t a Real Time system, check out:
– https://forums.creativecow.net/thread/202/885635
– https://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7ec9a.html

… as some starting points for understanding system specs for faster playback as well as how RAM previews work.

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

Quicktime MOV isn’t a codec… it’s just a container.

I would assume that you mean a playback codec like h.264.

If my math is right 45mb translates to about 16mbps (16,000kpbs, your bitrate).

If you use AAC audio at 192kbps, you should get really good (not amazing) video at 14,000-15,000kbps.

Take it with a grain of salt, I did really quick napkin math on it.

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

Also, since “best” isn’t defined, I can only assume it picks the best algorithm from those listed to apply to the image. Unless someone else chimes in.

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience

[Angelo Lorenzo]

Some DVD players and other devices play DivX natively… only thing I can think of.

DivX is just a version of MPEG4-2. Karim, have you tried exporting an MP4 file from Premiere and re-wrapping it to AVI (I assume the Mac version of MPEG Slipstream can do this) and testing compatibility with your player?

Alternately DivX and Xvid both come with Quicktime encoders, why not encode them to MOV and rewrap to AVI?

– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience