Angelo Lorenzo
Forum Replies Created
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Set your sequence to your output, scale images as needed.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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[Nina Sargsyan] ” I have moved over to a HP now and was wondering if I were to go back and export the Film by using Adobe Media Encoder would I need to have Adobe cs5.5 with all the plugins installed on the computer?”
Yes. While you could use a newer version of Premiere/AE, you’ll still need the proper 3rd party plug-ins.
[Nina Sargsyan] “Also lets say I want to add subtitles to the entire film what should I do, go to encore add subtitles there to an already exported file, or do I open the entire project in Premiere and add it there?”
If you want visible subtitles at all times, then you need to add them as titles in Premiere. If you want a subtitle track for DVD, then this can be performed in Encore alone using your existing mpeg 2 DVD video file https://helpx.adobe.com/encore/using/subtitle-basics.html
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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I think the consensus on this issue and similar (mostly from camera phones) is that it implements a variation of h.264 that is variable framerate. Variable framerate footage isn’t considered fit to edit as it’s very CPU expensive to decode.
I would attempt a conversion in any program that plays it correctly like Quicktime Pro or VLC and then see where that leads you rather than creating a reference movie.
https://forum.doom9.org/archive/index.php/t-165256.html as to the mechanism of how VFR works.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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I would say, based on what you’ve told me so far, that these comps are essentially both background replacements/establishing shots.
I would probably build all elements including atmospheric particles in your 3D package along with a Z-Depth channel. In AE you can access the Z-Depth channel, and that’s where I would do lens blur/DOF if needed. The one drawbacks is that AE’s access to these aux channels is limited to 8-bit. I would investigate an alternative to the direct process.
If you have a lot of roto/repaint work then Nuke has a toolset that usually makes that process quicker.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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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
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I have a 2GB GTX 560, factory overclocked by EVGA and it has excellent performance with HD/2K footage in Premiere and Speedgrade. Rendering speed is a bit of a misnomer, while Premiere renders some effects and functions the actual decoding/encoding is CPU based. Speedgrade uses GPU shading for in-application playback but will render the result only using the CPU.
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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
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Jonathon,
I wouldn’t say that z-depth masking is something AE can’t so, I was leaning on that example to show you something that Nuke handles with far less steps.
Comparatively, they can do the same thing in terms of actually compositing images. Nuke has the upper hand in terms of how easy it is for it to access multi channel files (accessing z-depth or UV passe), doing rudimentary 3D work because it supports 3D models directly better than AE and so on.
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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 -
60 hours of footage for a short film… I’d be furious at your friend. I only have productions hitting this much after 30 day feature shoots, sometimes with two cameras in this mix.
Syncing audio and video is a time consuming process. Even with Plural Eyes, you’ve still only created a timeline which you have to go back to and create merged clips.
With that said, as far as I know you cannot merge multiple clips at once in Premiere CC. I can only assume the mechanism for this was to avoid confusion from having one audio clip span through three video clips. Premiere’s matching speed seems insanely fast, makes me think it scans the beginning of each clip selected and matches as soon as it feels it has a confident match.
You could sync as you also watch and review footage, the 60 seconds it takes to select the corresponding audio and hit merge feels like less of a chore spread out over the course of it all.
Depending on the desired length of this “short”, if it were 15 minutes I may consider syncing after picture lock. If it’s a 45+ minute short then it may be more appealing to do a few days of slave labor and sync everything up front.
Another syncing alternative is WooWave. I don’t know if it properly supports C300 spanned clips.
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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
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https://forums.creativecow.net/thread/3/924145 Consensus is that if you combine the contents of each card’s folder structure then it should import fully.
Try it on a pair of cards, duplicate them and then shuffle them around into one structure.
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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 -
Sounds like they turned sync lock off one of their audio tracks. When off, ripple edits, etc. do not affect the track.
https://www.premiumbeat.com/blog/wp-content/uploads/2013/04/Sync-Lock-Removed-From-Track-Header.png
It’s the little “tournament tier” looking icon on each track. This is from the newest version so it may look slightly different, but they’re in each track header.
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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 -
It seems like you’re overestimating the work AE would need to do. You could choose your 3d program, choose your motion tracker and then create the animation in your 3d program (sound like it’s a sky dome for the star field and a 3d matte painting for the city). You would then bring the shots into AE for composite.
AE as a 2.5D program is simply a program that can composite 2d elements movable in 3d space. Once you start moving the animation to your 3d package there isn’t much to worry about as you’re dealing with the composite.
I suppose it depends on exactly how these scenes break down. If it’s some insane establishing shot where you need to do procedural z-depth based masking…. then yeah go Nuke.
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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