Angelo Lorenzo
Forum Replies Created
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Since we use Cuda accelerated machines, we edit 5DmkII and 7D footage natively. Using DNxHD is great when we need to bridge the gap with third parties. It plays back in Premiere CS5 decently, but if you play it back on half res, it gets some weird blocky artifacts – changing your program monitor to play back at full res will solve that but I don’t know if your machine can handle it.
I haven’t used Neoscene, but I don’t see why you would have audio playback problems. Have you tried rendering audio in your timeline to help ease playback? You could also clear Premiere’s pre-render cache in the preferences menu and see if that helps.
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That’s the only way I know of. PAL’s native aspect ratio makes the pixels slightly wider, so once you conform, it adds that width.
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What player are you previewing your video with? I know for instance, Quicktime (Mac and Win) has a bug that causes sync issues for MP4 wrapped videos.
Can you bring your rendered file back into premiere, put it on a dummy timeline and check the sync?
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The first setting on the screenshot is editing mode. This is set to be optimized for a very specific input type, in this case AVC-Intra footage.
If you need greater control, or mix different kinds of footage, I suggest setting the editing mode to “Desktop”. You’ll be able to adjust every other setting to taste including preview file format.
Like the previous post mentioned, once you have a new project up and running you can drag your footage on the “new” icon and the sequence will conform to the footage’s properties.
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CS4 doesn’t really take advantage of the GPU. The Mercury playback/rendering engine is introduced in CS5, so you’ll see substantial performance increases there if you have a compatible card. As it stands, your CPU is doing all the heavy lifting.
1.5 hours for three minutes of footage sounds relatively reasonable, but it’s highly dependent on what kind of effects you have(including image adjustments), what the AE comps include, and what codec and quality level you’re exporting to.
Are you running the Quadro FX 580 or the Quadro FX 5800? The latter is certified by Adobe. If your card isn’t on the certified list, if it has Cuda technology and at least a gig of video memory, you may be able to use this hack https://www.indiev.org/?p=308 which is really just sticking the name of the card in one of Premiere’s config files… not a brain buster.
I’m using CS5 with a hacked card, the GT240 and I’m squeezing great performance out with multiple video layers and adjustment effects applied.
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It’s impossible, at least to the point where I wouldn’t send it to the client.
I might send out a file that’s a MOV file, encoded to h.264 at 720×1280 and 2500kbps, and that works out to roughly 9mb, not including audio.
Your other option: Encode it at a decent full res and use a service like yousendit.com. It’s free to send files up to 100mb and they’re stored on their system for up to 14 days I believe.
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Answering a portion of your question, the DVD standard is limited to 99 chapters and 99 titles.
As for your other question, I don’t use Encore enough to say, still learning the program myself.
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1) It’s most likely a DVD player issue. Progressive content isn’t “DVD Legal”, so your footage is always transcoded as interlaced material. Are you using the same DVD player to test both tvs or two different DVD players? Again, I have to stress that if it is two dvd players, some of them do not play well with burned DVDs.
As a sidenote: Progressive scan DVD players deinterlace DVD content, but they connect to televisions in ways that are incompatible with older analog televisions (HDMI, DVI, etc.)
2) Revisiting this, if you do get a combing effect during playback on a TV, make sure any interlaced step in your process is set to “lower field first”. Again, what I think this is, is Encore’s preview window. Regardless of if your footage is progressive or interlaced, it will look like crap if you’re working on a DVD project in Encore’s preview window, but will look fine on TV.
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Bridge is just that, kind of a bridge between assets and Adobe programs.
You can use it for media management and organization. You can rate items, edit metadata, batch rename files, etc.
It’s a pretty useful tool when your workflow starts expanding.
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Why do you feel the need to convert? 7D files are already h.264, so running them through mpeg streamclip is a bit redundant and will only lead to loss of quality.
If your machine isn’t beefy enough to handle h.264 content, consider Avid’s Quicktime component. It’s free and includes the DNxHD codec… basically ProRes’s counterpart for Avid systems. Once installed, you can use Adobe Media Encoder to convert your files, it’ll be a new set of codecs under the Quicktime container.
You can download it here https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545