Angelo Lorenzo
Forum Replies Created
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Go to Sequence > Delete render files and see if you can get any playback at all again.
Is this a constant or recent issue? Perhaps a restart is in order.
Which color correcting effect are you using?
How much RAM does your system 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
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 -
[Kyle Garvey] “Premiere seems to be having a hard time playing it back once color corrected”
So drop down your playback quality in your viewport to 1/2 or 1/4. Consider pre-rendering your clip/timeline
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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 -
*Edit: Not you Jon, but the OP*
You may find these links useful. The benchmarking on the first link I posted may be a bit misleading as doesn’t matter what the codec is, the CUDA processing increases the speed of some effects, blending, etc.
If you want, possibly, more speed out of exports then you should look into MainConcepts codecs or Sorrenson Squeeze. They should include a h.264 encoder that uses CUDA acceleration. The one drawback is that these are, I believe, one-pass only encoders so 2-pass CPU encoding is still superior.
https://blogs.adobe.com/premierepro/2011/02/cuda-mercury-playback-engine-and-adobe-premiere-pro.html
https://forums.adobe.com/message/3377595
https://blogs.adobe.com/premierepro/2011/02/red-yellow-and-green-render-bars.html
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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 -
It may not be possible to do so for a commercial. The Creative Commons license requires that the credit and a copy of the license (or a link/url to the license) be included with every copy. This would be simple with long-form television as you could just add the information to the credits but it makes the use of materials in a commercial much different.
I would call NASA and talk to their media department. I would try to license the photos directly to supersede the Creative Commons license.
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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 -
Requirements From Adobe:
– Intel® Pentium® 4 or AMD Athlon® 64 processor (Intel Core™ i3, i5, or i7 or AMD Phenom® II recommended); 64-bit support required
– 64-bit operating system required: Microsoft® Windows Vista® Home Premium, Business, Ultimate, or Enterprise with Service Pack 1 or Windows® 7
– 2 GB of RAM
– 3 GB of available hard-disk space plus 2 GB of space for optional content; additional free space required during installation (cannot install on removable flash storage devices)
– 1280 x 800 display with OpenGL 2.0–compatible video adapter
– DVD-ROM drive
– QuickTime 7.6.2 software required for QuickTime features
– Broadband Internet connection required for online services and to validate Subscription Edition (if applicable) on an ongoing basis*If your system is preloaded with 8gigs of RAM then I can only assume the Windows OS is 64bit.
The Intel HD 4000 integrated graphics, thanks to a Google search, should support OpenGL v4 so it meets AE requirements.
Your system will certainly work, but laptop workstations always leave something to be desired in the speed of their CPUs so expect render times to lag. You’ll be able to get work done but if you do it professionally, make sure you manage time.
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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 -
https://www.studio1productions.com/Articles/PremiereCS5.htm has some benchmarking info near the bottom.
I think you’ll find you’ll need to look at other card stats like bus/memory speed before getting an idea if the 550 is faster. I think you’ll see that, generally, the amount of CUDA cores really contributes to the overall speed so stepping to a card with a similar amount of cores may not impact your speed in any significant way; a wasted upgrade.
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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 -
What you’ve stated is the solution: nest the video separately from the audio so that only video is controlled by multicam editing.
Logically, if you have to edit your audio completely independently of the cuts in multicam, you’ll need a separate editing pass for the quality of the audio.
You may want to look into the audio mixer automation (the write/latch/touch) settings. You can actually automate the mute switch and the faders, giving you a “multicam” like control of the audio.
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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 -
Make your animations procedural so they work the same regardless of the length or the text content.
Another thing to do is to use scripts to make your text content equal to the layer name. You can change someone’s name in the lower third by changing the layer name, you don’t have to scroll through the comps timeline, click on the text in the comp, saves a bunch of steps.
Lets say you have lower thirds that enter the screen or fade in, stay on the screen for a variable amount of time, then come off screen. I’ve been animating the entrance, adding one or two at rest frames, then animating the outro. In Premiere you can place the lower third, add a hold keyframe, stretch it to length, then take the hold off which animates the out.
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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 -
[Jef Huey] “Very interesting information. May I ask where you found all this?”
Well I did link to a few sources in my first post. The bit about RED is just general knowledge for me from being on Reduser and using RED footage on a regular basis.
[Jef Huey] “So, based on the information you pass on, how does Premiere handle a dissolve from a native RGB source and a YCrBr source?”
Based on nothing more than my personal understanding, I think it would depend on output as, from the comments by Premiere’s engineer, they like staying native for as long as they can in the processing pipe. If it’s for playback, YUV may be converted to RGB. If it’s for output to a YUV-based format then the native RGB would probably be converted on the fly.
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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 -
Denoise your footage is you can (I reply heavily on Neat Video for this kind of work) as that will get rid of some of the judder/noise/
Mostly, though you could probably mask around your foreground actor. A semi-tight mask would do the trick and then you could finesse your edges in keylight. Your foreground subject doesn’t move a ton, so I think it would be a good first 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