Angelo Lorenzo
Forum Replies Created
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So you’re working on a video that will be projected? or a comp that will eventually be printed?
If it is the former, then your approach is flawed. You should find out the video resolution of your projector (1080HD, 720HD, standard def) and then use black solids to mask portions of your frame if needed to match the 2:3 aspect ratio. Far more manageable since you’ll be limited by the projector.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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I assume you strictly mean multicamera sequences and not simple audio/video merged clips.
When constructing a multicamera sequence, I lay out the cameras and audio as usual, I then unlink all camera video from camera audio, I select all the video and nest it, I convert the nested clip to multicam. I now have multicam video on top of totally independent normal audio. In most cases it’s better to mix the audio like this so all sources can be subtly mixed instead of relying on the multicam audio cut which is utterly frustrating and kind of useless if you have additional audio tracks beyond the number of cameras you have.
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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
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1) After Effects uses the Adobe RAW plugin. If you’re thinking of bridging the gap so you don’t have to export intermediate TIFFs or other images, I would suggest processing your tweaks in Lightroom but make sure LR is set to save the XMP sidecar files on top of saving tweaks in its catalog file. Once the raw files are imported into After Effects, they should retain most, if not all, your tweaks – I’m not sure about some of the adjustment brush based things.
2) Nothing really. You could stack brackets on top of each other in After Effects, set your project bitdepth to 32 bits, blend them by selecting the blend mode add, and then have access to HDR data you can then manipulate in interesting ways. If you’re happy with Photomatix, stick with it, it’ll probably be faster.
3) If you want the ability to remap your HDR files, I would suggest 32-bit Tiff. I think Photomatix also does EXR and that’s fine 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 -
That’s fine, I’m disagreeing with you in context of the OP’s troubleshooting. SATA throughput is more than adequate even with the least compressed REDCODE 3:1 for single track edits. Firewire also has adequate throughput for single track edits for REDCODE 6:1 or more compressed (as long as the drive is full-sized, 5400rpm or mini drives typically can’t push that throughput with Firewire).
I’ll concede my original answer is more vague and makes it sound ideal in a broader range of applications which it isn’t but it shouldn’t be the reason a single RED file is playing back inconsistently.
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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 beg to differ, in certain cases. At a single stream of video, 4K performance off firewire is fine for the most part, internal single drives are more than usable. For multicam or any types of stacked editing I would look at RAID.
I don’t think the hard drive is the bottleneck for stutter on a single clip.
USB2 I would have worried.
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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 -
Export format should be based on the technical needs of your delivery destination. Broadcast has their own set of narrow specs to work within, DVD does, Blu Ray does, and even YouTube and Vimeo have FAQs with recommended formats and settings.
What are your goals with the material you’re editing?
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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 -
Record a “favorite” and save it. This is like a photoshop action where it records applied effects and their settings.
Go to Edit > Batch Process, drag files in and you can batch apply a preset and keep the files as-is in your project to be used or saved as needed, or you can export them as a second set of processed files.
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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 -
1) No, not in the sense that you can apply them to already created timelines.
You can go to Sequence > New and when that window pops up, select a preset and go to the tracks tab. You can ten select how audio is set up and which audio tracks are expanded when initially created. You can save these modified presets and use as needed. In Edit > Preferences > General, you can also turn on/off the visibility of keyframe envelopes on newly created tracks and sequences.
Feature request some of the fine-tuned stuff https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
2) Window > reference monitor will allow you to view a clone of your Program monitor. You can gang or separate playback from your program monitor. This allows you to have scopes up. Playback/scrubbing functionality may degrade a bit until the reference monitor closes. As far as I know you can only have one source monitor, period.
3) Edit > Keyboard shortcuts. Scroll down to quite a ways to Panel > Timeline. You have unassigned keyboard shortcuts to increase and decrease track height (probably affecting the armed/selected audio and video tracks) which will substitute what you need.
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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 -
In Premiere, another thing to look at is do you have your reference monitor up at the same time as your program monitor? The reference monitor is usually a clone of the program monitor that many people switch to viewing the video scopes with. If it’s ganged to playback with the Program Monitor it can degrade performance like playback and timeline scrubbing.
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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 the Adobe Mercury Playback Engine can work in three modes: CPU, CUDA, and OpenCL. Now your ATI/AMD card isn’t officially supported but many GPUs can be added to a text file with in Premiere Pro’s program files to trigger Premiere to utilize them but this may not the best solution. Have you done this modification?
Are you playing the RED files in a native sized timeline (2k, 4k) or are you scaling them down in a program sized timeline like 1080 or 720. The scaling can add additional CPU overhead… which shouldn’t be an issue with your dual CPU setup but I still have to mention it.
How is playback in Redcine-X? Smooth?
What does your process manager look like in terms of CPU/RAM usage when you play the file in Redcine-X vs. Premiere?
I have a Red Rocket in my PC setup and I get smooth playback in every application that supports it at full quality.
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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