Angelo Lorenzo
Forum Replies Created
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[Jimmy Ji] “So the 60i becomes 29.97 in premiere.”
No, 59.94i is still 59.94i. Do not reinterpret the footage in any way. Do not change the field order to progressive, do not conform to 29.97 or 23.976. Do not touch it. It should be 59.94i, assuming your camera and recorder are properly recording the pulled down signal.
[Jimmy Ji] “I drag the file into a 23.976 timeline and obviously I have to render it, but there has to be a way to just do a batch process for all of these clips I have.”
In Adobe Media Encoder, set up a batch. If the input is 59.94i and the output is 23.976p then it will perform a reverse pulldown. AME works with the same rules as Premiere.
[Jimmy Ji] “Perhaps I do have my settings wrong, but the camera is at 24fps. I could be doing something wrong though I will check again soon with the camera.”
Certainly a possibility. I shoot mostly with the RED Epic and Arri Alexa so rarely do I work with external recorders or the AF100 in particular. I can’t comment much on how the camera is behaving in this situation.
[Jimmy Ji] “So there is no need to “interpret” footage?”
Don’t touch it. 59.94i onto a 23.976p timeline, let Premiere handle the rest.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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Drag your 59.94fps interlaced clip into a 23.976 progressive timeline and reverse pulldown is done automatically.
If you notice any cadence or blending issues it may be because your camera isn’t sending a properly pulled down signal to the Atomos recorder
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
To do what exactly? I find that unless you’re mixing professional-level music that Audition’s included effects are more than enough; the exception being the need for some better restoration tools.
https://www.plugandmix.com/ make some good stuff. These effects are programmed by high-end plugin designers and then blackboxed into a budget offering. You can like them on Facebook to receive one free effect.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Generally the film, from the beginning, is converted to an intermediate/mezzanine codec like ProRes or Avid DNxHD and is traditionally HD (1080×1920 as this is Avid’s highest resolution).
These intermediate files are then edited. Once editing is locked, the film is split into “reels” of about 15 minutes. Why? If you have to re-edit a portion then you only need to change a piece of what is going to the next step of post, rather than possibly disturbing edits within the timeline of the entire film.
Once in reels, footage is organized and sent to audio, vfx, and so on. Once these steps are finished, the film is ready for “finishing”.
Finishing will happen in applications like Scratch, Baselight, Speedgrade, or Resolve amongst others. They’re commonly considered color grading apps although the toolsets are more extensive.
The edit is then matched with the original 5K edits or, in the case of visual effects 2K renders, replacing the original intermediate HD video from the first step. Footage is then color graded and exported to the finished 2K result.
That’s in a nutshell, as some films will have multiple post steps going on at the same time.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
You need telecine, the process of converting a progressive 23.976fps video to 29.97 fps interlaced, aka 59.94 fields per second interlaced.
[Jimmy Ji] “My question is what method do you guys recommend to reverse – telecine the footage if I’m shooting at 24fps?
Does MPEG stream clips achieve this?”Again, I think you’re talking the process of telecine. If you drag a 23.976 or straight 24fps clip into a 29.97fps interlaced timeline, Premiere will automatically add a 3:2 telecine pulldown.
People need to stop using MPEG Streamclip. Over used and leads to issues where users may recompress and lose quality in their files. It’s a sledgehammer in most situations.
[Jimmy Ji] “I also edit on Premiere Pro CC/CS6 I know that the most of the sequence settings are just presets, and that I can just custom edit a sequence but do you guys recommend anything in particular to set?”
If you don’t know what you should set your sequence to, set it to whatever format your final published video needs to fit. This is also known as the “deliverable specifications”. As a fun fact, all web deliverables should be progressive scan. Speaking to the above, since telecine results in an interlaced file, Premiere will do simple deinterlacing when exporting an interlaced sequence to a progressive export format.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Are any video tracks selected/armed on the left of the timeline?
Can you post a screenshot of your timeline panel?
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
I agree with Ivan on most counts.
I would suggest bringing in your exported clip back into Premiere and placing it above your original edit. You can then switch it on/off and view the YC waveform. As with any troubleshooting (I have a background in software and hardware QC) you want to check every step of the process. This will ensure that there is or isn’t a color shift from the original export, or from the conversion of a master file to a web deliverable.
From there you could rip Youtube/Vimeo uploads and compare any color shifts. I would say that rarely do I see a shift worth correcting. The other issue may be HTML5 players as each browser is left to its own devices when rendering the output of video. In general, I don’t see much in the way of compensation that far down the delivery pipeline as there is variability introduced by the end user.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
What version of OSX do you have on each system? CC apps drop support for Snow Leopard (10.6.X) so that may cause some installation weirdness, although if that is the case it should have stopped you from installing Photoshop CC too.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
What settings/format are you exporting to? Exact details or a screenshot of your export settings.
What are you using to compare your in-Premiere video against your rendered video? Are you taking your rendered video back into Premiere? Are there color shifts then? Are you using Quicktime to watch the video? Quicktime, as a player, does a terrible job of rendering colors correctly; this is above and beyond any gamma/color shift bugs.
——————–
Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Turn off CUDA/OpenGL acceleration. This affects how some opacity is blended and I consider it a first step in troubleshooting.
——————–
Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter