Angelo Lorenzo
Forum Replies Created
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https://en.wikipedia.org/wiki/H.264#Levels
No, level and profiles are used to help hardware decoders understand if they have the power to decode a video stream.
Level 3 doesn’t support 1920×1080, level 4-4.2 starts to. You may need to speak to your client to clarify the spec.
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Do you want to use an intermediate/mezzanine codec like ProRes, Cineform or DNxHD? The answer is maybe. Generally, these files will be larger but on borderline systems you’ll get better editing performance and on most systems you’ll get better performance with fast playback/scrubbing as they are intraframe codecs.
Does converting dSLR files to, say, a 10-bit version of these codecs do anything? No, not on its own. Read this https://prolost.com/blog/2010/1/26/color-correcting-canon-7d-footage.html
“–Do denoise. It doesn’t really matter what denoising software you use, but use it. When you carefully and subtly denoise your footage, you rebuild your pixels anew, which is especially nice when you follow the next tip:
–Work at high bit-depths. If you start with an 8-bit image and do a gentle de-noise, you’re blending pixels values together to create new colors. Although there’s no such thing as something for nothing, doing this at a higher bit-depth means those new colors have massivly more gradations than the original image. Your subsequent color work will hold up much better.
–Sharpen last. Your flat Picture Style removed the camera’s built-in sharpening. Add your own at the very last step. The amount you use will vary depending on the output medium, so test test test.”If you denoise in Premiere or After Effects and export a 10-bit intermediate for color, then you’re preserving some of the slight gains you’ll get.
Premiere processes 32-bits internally and AE is selectable between 8/16/32.
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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 -
… There is no good way to do this that isn’t insanely kludgy.
The quickest way for a large project would probably be to create copies of your proxy footage, sync/replace your production audio within the file using DualEyes, and then in Premiere, doing a match frame (f key) and overwrite editing the footage back into the edit. The last part with Premiere is because you’ll probably be creating multiple new audio layers (I assume your production audio is 4+ channels) and Premiere doesn’t do this and place in the new multichannel audio automatically.
Beyond that, I don’t think any “clever solutions” will beat manually syncing each cut either with the clapper or, if there is timecode, using the synchronize command. This will create a new merged clip then you rebuild the edit with your original locked edit as a reference.
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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 -
This is not the Quicktime Gamma Bug. The gamma bug manifests itself as an actual change in brighness that you would see against the original in, say, After Effects once you re-imported the render.
This issue is just because Quicktime is just a crappy video player and doesn’t display color accurately. No two ways about it. I usually tell clients to download and preview files in VLC (plays slightly darker but nowhere near as off as Quicktime).
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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 -
To fix it, in your timeline right click the affected clip and select “audio channels”. You’ll notice the assignment for your speakers are all set to “none”, set these to whatever is appropriate for your project and hit ok.
This is most common when bringing over a rough cut from Prelude.
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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 -
Create a copy of the project, open it up and go to menu > project > remove unused. Now try to export the XML.
Removing unused does a lot of behind the scenes housekeeping to the Premiere Project file.
Worth it as a troubleshooting step.
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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 -
The items in the screenshot are not effects in and of themselves, they are controllable parameters within the Dynamics effect. Many effects will have options and many of them will be vastly different. These can be automated just like the volume slider using the write/latch/touch automation settings.
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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 -
Thank you for jumping into the forums Steve.
A few questions. I hear that, starting with CS6, you’ll have access to all major versions of Adobe apps. Will there be a “rollback” install or will we be able to install an old version side-by-side?
What are the details on Creative Cloud for teams? I hear that old volume licensing use to include two installs per mac/pc per license (4 total) while the Creative Cloud license is two active installs across the board. Is this set in stone or will there be some flexibility for volume customers? If this is so, it basically doubles the cost for volume users.
During the keynote, there were hints that some CPU intensive features like AE’s rotoscope refine edge may be processed in the cloud one day. Is Adobe’s stance to have some fallback to the user’s CPU? It would be a shame if some features were cloud connected round-the-clock.
For small volume/hobbyists, will there be any kind of activation tools for those who are deep behind firewalls or have limited/no connectivity? For enterprise customers it seems there is some wiggle room but it leaves a lot of people out.
Granted a change in business models shakes everyone up and I’m sure Adobe didn’t come to this decision lightly. I also know it’s Adobe’s policy not to comment on any future business related matters but I hope Adobe takes customer feedback into account when it comes to possibly offering perpetual licenses again or some level of free availability so once paying customers can access archived projects.
I can only assume the “elements” versions of products will be beefed up to pick up the slack of those hobbyists or business people who open and use Adobe products rarely.
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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 -
Well if you need an AE, just let me know 😉
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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 -
Best is additive – far easier to script, say, “add timeline with suffix [01] and butt up timeline with suffix [03] and add to render queue”
I would strongly consider rendering uncompressed or an intermediate codec from After Effects. Adobe itself doesn’t recommend rendering interframe codecs (assuming MP4 means an mpeg2, mpeg4, or h.264 codec) directly from AE as the process is slower and quality is lower.
——————–
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