Angelo Lorenzo
Forum Replies Created
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In a 1080 sequence, you may be limited to dropping resolution to 1/4th. You may have a better experience editing if you do it in a full 5K timeline and use 1/8th or 1/16th quality. Scaling will add CPU load so it’s best avoided until you nest full sequences that have been edit locked.
If you aren’t using a RED Rocket card to help process RED footage, you’re off loading the process of converting raw video to a viewable video to your CPU; your RAID isn’t a bottleneck in this situation. RED’s format allows you to process less, you still get a readable frame, just at a lower resolution.
Another thing to consider when you aren’t using any kind of proxy/intermediates for an offline/online is that when you export, you’ll probably be faced with large export times as your CPU has to process the RED footage at full quality 5K then scale it down.
If you’re on a deadline and decide to switch to some intermediates, I’m in LA and my services are reasonable in price (shameless plug).
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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 -
Forgive meas my knowledge with CS3 is minimal (I think you’ll find few users will attempt to try and help you support a program 6 years old).
Firstly, avoid the AVI container like the plague. with HD footage, you’ll very quickly run into the 4gb AVI limit. Do not be fooled by AVI files larger than 4gb, these are non-standard.
Firstly, you need RED’s management software Redcine-X Pro.
https://www.red.com/faqs/workflow
https://www.red.com/downloads/4fad7fd417ef027cd8000eb1Read the software manual thoroughly! I’m not joking about this.
At this step, you’ll need to make a few decisions. First is do you want to keep full 2K, do you want to scale it down and have some slight shadow boxing, do you want to crop down to an anamorphic-style 2.4:1, or do you want to crop it to fit a 1920×1080 16:9 raster. I assume your production already has an idea of what it wants to do.
Second is do you want to convert your footage in full or half debayer quality. Without a RED Rocket processing card, the conversion will be very slow. Half debayer quality will sacrifice resolution (sharpness) to save you a good chunk of speed. Full debayer if you want to carry your intermediates to your final product, half debayer if you want to online your edit on a more powerful system later on.
So, I assume, you have access to read and write to Quicktime MOV? Look into Avid DNxHD as an intermediate format within the MOV container. https://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE-2-3-8 Be aware that this limits your resolution to 1080 or 720; you’ll make a slight sacrifice on the full 2K image.
If you want true 2k, you’ll have to look into the paid version of GoPro Cineform. The free version also has a 1080 limitation.
Both of these codecs can be exported in the MOV container. Their performance/size should be similar to using ProRes in FCP7.
If you’re in the Los Angeles area, it may be worth using my services for conversion or for additional assistance if you choose to do an online conform.
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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 -
Try going to the project menu and selecting “remove unused”. Beyond removing unused elements from the bin, it does a lot of internal housekeeping that may clear that error.
Generally it’s best to sync audio before you cut if you can. A much cleaner workflow results.
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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 -
https://www.studio1productions.com/Articles/PremiereCS5.htm has a good list about half way down the page of cards that users have tested and some notes about them. Below that there are some sections of, albeit not that exhaustive, benchmark results.
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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 -
Pretty hefty source, it might actually be true.
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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 -
Strange indeed. Well at least we can eliminate any GPU issues. It appears that in either case, MRQ turned on or off, that the CPU is handling all the work.
What is the source of the affected footage? I’ve had some instances where implementations of certain codecs don’t behave well with 32-bit precision (Avid DNxHD in After Effects leads to artifacts near highlights in some instances).
What format/container are you rendering out to?
Alternately, if you just want to get things done, I always suggest rendering out to TIFF or DPX (scaled down to your delivery size), bringing it back into Premiere to marry with audio, and then rendering out the deliverable. When you have rendering issues, rendering to an image sequence allows you to easily re-render corrupted chunks. Takes a good amount of disk space though.
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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 -
Replace footage works well if the current clip and replacing clip are the same length or have the same starting timecode.
If you’re getting a new stringout that’s the same length, just the original resolution, then you should be fine. Just keep an eye out to make sure merged clips or sub clips update properly.
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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 -
https://blogs.adobe.com/premierepro/2010/10/scaling-in-premiere-pro-cs5.html
https://blogs.adobe.com/premierepro/2011/02/cuda-mercury-playback-engine-and-adobe-premiere-pro.html
Is your 8800 GT “hacked” for Premiere Pro’s CUDA support? I believe the card has 512mb of memory (standard config) which isn’t enough for Mercury Engine support. If you do have it active, roll back your Mercury Engine settings to CPU and then give it a render.
If you place your work area around the affected area and render a small portion, does it come out distorted or only if you render the entire 60min clip?
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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 -
If you have CS6, there is also the option of adjustment layers if you want to avoid nesting.
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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 -
A multicam is a nested sequence. If you cut it already then you can either 1) apply the effect to each clip individually or select all the blocks, nest it again, and then apply the effect to the new single nested sequence. You shouldn’t see any performance penalties from nesting.
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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