[Angelo Lorenzo]

Edit proxies and conform via an EDL once the edit is locked.

The primary reason is that 1/6th res is a really rough image that may lead you to misjudge focus issues in footage. The other issue is that you’ll save time overall with both editing, rendering preview files for the producer/director, and other tasks. While Premiere isn’t the most swift at an online/offline workflow, the hassle of relinking is usually outweighed by the responsiveness you gain on slower systems by working with offline files.

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

Copy/paste isn’t random, it works on the first highlighted(armed) track, even if multiple tracks are selected. In the case of audio for CS5.5 then it may create a track if the currently selected track doesn’t support the channel type (stereo clip pasted into mono track).

https://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7d04a.html#WS1c9bc5c2e465a58a91cf0b1038518aef7-7d0ba

https://library.creativecow.net/devis_andrew/Premiere-Pro-CS6-Basics_15/1

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

*Sighhhhhhhh

Alright, lets get this started.

From https://camerahandbuch.wordpress.com/2012/08/03/premiere-rgb709-problem/ (edited for clarity)

“YUV and RGB do not traditionally have the same black and white levels. In 8-bit YUV, black is represented as 16 but in 8-bit RGB black is 0, and 8-bit YUV white is 235 but 8-bit RGB white is 255. Any values under 16 in YUV are considered Super Black and any values over 235 are considered Super White.

Many applications (like Final Cut Pro, Premiere Pro, After Effects) will convert YUV to RGB in such a way that expands and maps the black/white levels of YUV to the black/white levels of RGB, and likewise they will convert RGB to YUV in such a way that contracts and maps the black/white levels of RGB to the black/white levels of YUV. This is considered converting YUV to Full Range RGB (or Computer Range RGB) because the 16-235 values of YUV are expanded and mapped to the Full Range 0-255 of RGB.

While technically Super White and Super Black are illegal YUV values, some users do like to preserve them in their workflows and so there are some applications like Sony Vegas and Avid Media Composer that are aware of the color levels differences of YUV and RGB data. These applications allow workflows where YUV can be converted to/from RGB that provides more of a one-to-one mapping of the color levels where 16-235 YUV is converted to 16-235 RGB. This is considered converting YUV to SMPTE Range RGB (or Video Range RGB) because the 16-235 values of YUV are mapped to 16-235 RGB.”

This would map 0 IRE or, in the case of PAL, 0.3v to an RGB value of 0, and 100 IRE/1.0v to a value of 255. https://forums.adobe.com/thread/1107336

Use your program scopes and, if you have access to external scopes, please check program material. Do not use RGB values in Premiere to make any critical evaluations when it comes to broadcast levels as RGB levels will be compressed when output to a YUV video format.

If you want to preserve super whites and super blacks, you need to take care to use effects that process YUV directly (they will have a YUV icon) and export to a YUV supporting video format. If some care isn’t taking then you’ll just clamp to YUV legal values.

[Craig Ricker] “That moves us onto chrominance.
To ensure I am meeting the broadcast legal standard for chrominance I can use the vectorscope. I understand what the vector scope is showing, but I do not know if my levels are supposed to fall under 75% or 100%? When I put up DV Pal bars the vectorscope shows maximum chrominance of 75% where as when I put up HD 720p Bars they show maximum chrominance of 100%. Is that a hint as to what is legal?”

https://blog.ieba.com/wp-content/uploads/2010/06/ReadWaveformVector.pdf
https://forums.creativecow.net/thread/3/866589
75% is your setting for both PAL and NTSC; the first link will teach you how to read a vectorscope.

[Craig Ricker] “RGB Parade…
Is this showing the luminance values of each individual color channel? I assume this is more for color correction than actually bringing levels into safe limits, as every channel appears to be clipped on all colors. And thus what is safe limits?”

RGB and YCbCr parades are for color correcting only, you’ll notice their scales are an arbitrary 0-100. I would suggest trusting the YC waveform with the chroma overlay in addition to the vectorscope.

As for some of the specifics of legality, I’m not familiar enough with PAL to say how far the chroma can fall outside of max luma (NTSC allows for an additional 20%) or how PAL color bars should be laid to tape.

[Craig Ricker] “Here is another test I could not get to work. I create a 0,0,0 black, a 255,255,255 white and a 16,16,16 in photoshop. No matter what color profile I gave the document when I displayed this graphic on my 720p timeline it displayed 255,255,255 as 1.0v 0,0,0 as 0.3v and 16,16,16 as like 0.35v

So I could not get any graphics to fall into what I suspect is “illegal white” of 1.1v?????”

See the first set of paragraphs. Unless you use some wayward workarounds, because Premiere uses full range RGB, it’s not really possible to get superwhites from graphics. If you’re using AE to create overlays then you may want to be critical of your RGB levels if, say, you’re bringing it to Avid in an RGB based video file or image sequence.

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

https://aescripts.com/after-effects/?dir=asc&order=price sort by price

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

Drag your sequence from your bin in Premiere to your bin in Encore. Unless you need to do some heavy conversion like a pan and scan, then Encore will do fine with conforming your video. You don’t have to render an intermediate file because Premiere and Encore work together with dynamic link.

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

WDM is the same as MME, which is the same as system sound. Stands for Windows Direct-X Media or something of the sort.

Makes me think the ASIO drivers are acting funny.

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

If you’re using the mbox for system sound then you have to, in Premiere, use it as an MME device. The mbox will not be available as the low latency ASIO device it could (probably) also be set as.

Post a screenshot of your current audio hardware settings within Premiere so we can eliminate it being any small oversight.

Alternately, see if it functions once system sound is released from it.

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

Why don’t you have your client put you in touch with the technician who will be running the display?

The Ziris system is simply a management and delivery architecture which means the delivery specs can vary greatly from implementation to implementation.

The 11300×4400 sounds like the resolution of the entire wall which means the RFP is, hopefully, suggesting some kind of placeholder image if needed. That would be my speculation.

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

While I’m all for top quality if possible, the OP may be working within constraints of budget, established workflow, and so on to where compromises will have to be made. If he’s a new hire he’s also the low man on the totem pole.

As for ProRes LT vs h.264, if they were both running at ~100mpbs (ProRes LT does, ProRes Std is around 145) then it doesn’t really make sense to think the image quality will be better in a lightly compressed format running at the same bitrate as a highly compressed format.

The use of the BlackMagic Hyper Deck Studio Pro doesn’t initially telegraph to me that quality is their top concern. They might just be recording a multicamera show off a vision mixer or trying to squeeze some life out of an older camera.

——————–
Angelo Lorenzo

Need 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

[Angelo Lorenzo]

While it seems that everyone wants you to archive ProRes, lets actually address your question. If this company is inflexible about the money they want to throw around then you still need to solve the issue.

Consider the EBU recommendation; if it has to be a compressed codec then h.264 at ~100mbps, 4:2:2 all-i will at least give you some good performance for editing in terms of CPU usage and scrubbing, a good quality image, and at half the bitrate of ProRes HQ. It’s basically like switching to an AVCHD workflow.

At that point you should treat it as a camera native and put in place all the precautions, version checking, etc to reduce or eliminate the possibility of generation loss.

I would then burn out the final show to ProRes standard for archival and whatever other deliverables you do.

I don’t think Premiere’s encoder will do 4:2:2 color, but you may be better off with the scriptability of using FFMPEG or FFMBC to do the conversion.

——————–
Angelo Lorenzo

Need 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