Angelo Lorenzo
Forum Replies Created
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Taking Jeff’s answers into account, I would capture at 60i since your camera is adding a pull-down.
You can then do two things: keep your timeline in 60i or, for the sake of having native progressive footage, you can use a 24p timeline. One word of advice: When you are creating a new sequence, under the “Settings” tab click “Playback Settings…” and try each of the two 24p conversion methods (either repeating frames or interlaced) to see what works best with your camera. I would try this setting with some quicker moving footage like pans.
As far as encoding bitrates and keyframes, here are my medium-high recommendations (this assumes 24p, 30p, or 60i):
Low movement/action 640×480:
Keyframe every 15 frames
2000-2500 kbpsAction 640×480:
Keyframe every 8 frames
2500 kbpsLow movement/action 720p:
Keyframe every 15 frames
5600-7500 kbpsAction 720p:
Keyframe every 8 frames
7500 kbpsLow movement/action 1080:
Keyframe every 15 frames
12000-16000 kbpsAction 1080:
Keyframe every 8 frames
16000 kbps– Angelo Lorenzo
– https://FilmsFor.Us Helping you sell your film online -
Alex,
This is correct; you need to look at your source monitor for one timeline as you work on another. The transparent video layer has to remained undisturbed. Some would think they can cut it and group it with the clip as they move to other timelines, but every cut will reset the transparent video layer to 00;00;00;00
I do add one additional step for myself; if you know you won’t confuse a client, try this: add a timecode effect to the original clip so you have a “master timecode” (via the transparent video) and a second clip timecode under it displayed.
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Off the top of my head I don’t think Premiere does a burn-in of filename.
Alternately, you could throw all the rushes into a single timeline, add a transparent video (right click your library, its almost like adding a title or black video) to the second video layer in the timeline, and add Premiere’s timecode plugin to it. This will burn ongoing timecode through the clips (avoids duplicate timecode if you’re working with a multi-cam setup) and your client can reference this “master” timecode rather than a file’s timecode and name.
I’ve had no real issues with this workaround for clients.
– Angelo Lorenzo
– https://FilmsFor.Us Helping you sell your film online -
You need to use OnLocation, a program that comes in the production suite that is designed for exactly what you want to do.
This help file is from CS4 but should get you rocking if your device’s firewire is OHCI-compliant
https://help.adobe.com/en_US/OnLocation/4.0/WS4FEC81E9-469F-499b-86BD-6CD9AFC4C82A.html
https://help.adobe.com/en_US/OnLocation/4.0/WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ff0.html
– Angelo Lorenzo
– https://FilmsFor.Us Helping you sell your film online -
Premiere Pro only reads timecode from BWF files. It cannot read SMPTE audio timecode.
You’re looking at a tool like auxTC that will read audio timecode then convert/embed it into a Quicktime TC track (maybe someone else can chime in to confirm 100% that PPro reads a Quicktime with embedded timecode, I don’t have a file to test at the moment).
Another tool is Plural Eyes which matches up two-system audio based on the audio fingerprint itself. If the audio quality is decent from both systems I’ve used it to 100% accuracy. I’ve also seen it used on the last feature I worked on so it’s relatively common in the industry. My big tip is that you need to sync your scenes before you edit. It will also sync additional cameras based on audio for multicam edits.
– Angelo Lorenzo
– https://FilmsFor.Us Helping you sell your film online -
“Am I completely missing an important step or a miracle output format that will unlock the incredible quality of HD? Because as of now, sadly, it doesn’t look much better than SD to me.”
You are because you’re still outputting VGA resolution. Youtube and Vimeo can both take HD files up to 1080p/i
Your technical details are very confusing, and you may have mismatched something.
1. “Shot 1080i HDV 24p on a Sony”… so is the footage 1080i60 or 1080p24?
2. “Captured via firewire in Premiere CS4 on a HD 1080 (60i) timeline”… I would worry if this matches your footage or not based on the poor information in #1. It’s best to match the timeline and capture exactly to your native footage.
3. When exporting you need to choose progressive/no fields. You may also want to choose “blend frames” as this will blend interlaced fields a bit more than not choosing it. Web content almost always looks better progressive and although 1080i looks good, for video sites with multiple resolutions, I don’t know if I’d trust their resizing to account for interlacing (I’ve yet to do tests).
4. With h.264 you can choose the keyframe distance and the bitrate. Less motion = keyframes farther apart and a little less bitrate, more motion = keyframes closer together and a little more bitrate. You can also do VBR once you set your keyframe amount properly. I prefer setting my keyframes manually rather than setting them auto.
The biggest boon to this video is the really high compression. You may also want to throw a sharpening filter on the entire video to retain details as you downsize from HD to SD. Sharpening simply increases the contrast around edges.
– Angelo Lorenzo
– https://FilmsFor.Us Helping you sell your film online -
In our contracts we do have sign offs and timelines so we have some artificial soft deadlines to enforce. Within that we’ve been short sighted to really define a tweak vs a revision.
One of the situations that brought this to a larger amount of attention is some heavy edits we had to do for a client. They wrote the script in-house and approved themselves, we did a 3d previs they signed off on, filmed it to script and signed off on it, and between rewriting things before the shoot they tried to “rewrite” it through the edit as well. At that point we did not have a set revision period and things dragged tremendously.
I guess what it comes down to is: is it better to set revisions in a time period or revisions in a hard number?
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Why do you need a business plan? Business loan and investor capital or as a personal roadmap?
– Angelo Lorenzo
– https://filmsfor.us – helping you sell your film online -
I don’t use FCP at all to be honest. I’ve used Premiere since 2001.
FCP, I believe, is a little more difficult to re-time. There are a few additional steps from what I recall but it may not be as much of a headache since you don’t need sync sound. Unless someone else can chime in, I think you just might have to convert/conform before editing and work with one 50fps file and one that has been conformed to 25fps.
Apple’s Cinema Tools (part of the FCP suite) may also be able to do this for you in some fashion.
– Angelo Lorenzo
– https://filmsfor.us – helping you sell your film online -
Were PPro and AE installed at the same time? If they are licensed separately(not part of the creative suite) or not installed at the same time, Google reveals there can be some weirdness with Dynamic Link.
– Angelo Lorenzo
– https://filmsfor.us – helping you sell your film online