Angelo Lorenzo
Forum Replies Created
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[August Bradley] “So Adobe’s claim to work natively with Sony RAW in Premiere is not true?”
It can, but the only thing it can control currently is the curve setting – additional curves and debayering quality isn’t yet an option. I would expect broader support in the coming months with the next major update.
[August Bradley] “What’s the point of direct link with Speedgrade if you can’t use the RAW for grading? The entire point of shooting RAW is for grading.”
Direct link uses Premiere’s codec engine so you’re as limited as you are in Premiere. Speedgrade doesn’t, as far as I know but I’m behind an update, directly support Sony RAW so you can’t do conforms outside of direct linking. Weird but true.
[August Bradley] “Can you at least re-link to the RAW in Speedgrade?”
You’re using the RAW file currently, just with no access to the linear curve. The only > 10-bit format alternatives are TIFF and OpenEXR. At that point you might as well conform the video and finish in Resolve for the time being.
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My inclination would be to conform the film in Sony Content Browser (Sony’s content/viewing app, if it’s capable of such things – I rarely use it) and export 16-bit tiff or OpenEXR from there for grading; you can’t use the more common DPX as that’s limited to 10-bit.
Beyond that you’re stuck with the 10/12bit interpretation Premiere’s internal engine will give it with slog2.
Resolve will give you the linear curve.
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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
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That’s simply how Premiere behaves – counter intuitive but the CTI is the frame in front of it. I believe FCP7 acts this way as well so it’s not terribly foreign.
There is another keyboard shortcut, I think K that will cut ON the CTI, so give a look at that.
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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 -
Insert SD card, import files into premiere using the media browser pane, then Premiere >File > project manager > select consolidate and move files and pick a spot on the hard drive.
Test it out, it’s a little roundabout but should work.
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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 Premiere CUDA text file hack – Google it. Premiere Pro CS6 won’t officially support anything but a small subset of cards but addinging your particular model to the list should unlock Mercury’s hardware mode. I don’t know what model or year iMac, but you need an integrated nVidia GPU with at least a gig of VRAM.
——————–
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 would start with 2mbps as max bitrate. This is simply taking some of the 640×360 presets’ bitrates, doing some simple math to compare area (800×600 is 25/12 larger, or about 200% increase in area) and then applying multiplication.
Also, if it looks acceptable and you don’t really have guidelines for bandwidth/network use then 2mbps should be fine. Between 1-2gbps is about the speed of the average 3g mobile device in the US.
——————–
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 -
Media on your fastest read drive (the raid), media cache on any other drive but the footage drive. What you’re optimizing here is throughput.
Lets lay you just used the RAID. well if you rendered, you’d be reading to the same drive you’re writing which could create a bottleneck beyond the speed of processing.
Using two separate drives, one for media and the other for cache, and with today’s processors you’re really only dealing with the CPU as the bottleneck. The one exception is totally uncompressed video or TIFF/DPX sequences.
——————–
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 agree with Tim, if your apps are consistently getting stuck in the same portion of render or on export of the same file, I would try playing the file in Redcine. If Redcine crashes then the file is bad, if it plays but crashes during render, render it out to a still sequence and then note the frame it crashes on, and in Redcine mark the in point on the frame after that.
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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 -
Remember frame aspect ratio is different than pixel aspect ratio.
I would assume that 3240X1080 is a 1:1 pixel aspect ratio and that they’re using the 3:1 ratio much like HD is 16:9.
Even if they use anamorphic (2:1 pixel aspect ratio) Premiere and AE will desqueeze it to the right dimensions with a 1:1 pixel.
Also 3240X1080 will require 2K to be resized. 3240 also isn’t a dimension for a 4K projector so the output will have letterboxing on all sides, unless this is for some custom display like 2 HD TVs side by side.
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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 -
[Morten Ranmar] “Also I cannot understand why does Audition does not reference the original audio files, but creates new “trimmed” intermediate files”
While I can speak to your first question, I can comment on the above. Audition uses rendered audio files because all audio has to be conformed to the sample rate of the mix session. Most audio editing (like noise removal, spectral healing) is destructive, so it’s a stop gap from altering your originals.
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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