Angelo Lorenzo
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Premiere will only recognize one GPU as will, I assume, After Effects.
With that said, it seems like you should pop over to the Adobe forums or use Adobe support for a question like this. My assumption is that Adobe apps would recognize something in lane 1.
If you want a quality GPU card that is designed to drive multiple monitors then take a look at Matrox. https://www.matrox.com/graphics/en/products/graphics_cards/p_series/p690lppciex1/ wouldn’t be bad. It uses a break out cable to two DVI. You may want to consider a displayport to DVI adapter cable as well so you’re driving both via DVI.
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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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A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
https://forums.creativecow.net/thread/202/883741 You can expand/contract keyframes.
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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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A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I should mention that this is a limitation of Redcine-X as well. You cannot push RED files past 1.0 to create super brights. HDRx files have the same issue as the A and X frames are just blended within the 0.0-1.0 range.
You could, however, interpret two versions of the HDR RED file (one as frame a and one as frame x), blend them in 32bit in After Effects and save the resulting over range footage as OpenEXR.
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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 -
1. Set your project to 32bpc and turn color management off.
2. Add RED footage to comp
3. Add additional color correction filters. Make sure these are 32bpcYou will now see that After Effects allows super brights. Using the RED RAW adjustments directly seem to roll off the maximum value to 1.0, so don’t rely on RAW adjustments to achieve super brights; Use any 32bpc adjustment to push and pull those values.
So far as I can tell, this doesn’t introduce much if any banding.
You don’t get any huge advantage when using the native RED RAW adjustments when After Effects is accessing the original file anyways. AE has access to the entire unadulterated range.
Additional reading on superbrights which may be useful https://magazine.creativecow.net/article/cineon-files-what-they-are-and-how-to-work-with-them
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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 -
Google “After Effects Light Wrap”, there will be a few techniques for blending in the edge of your background to your foreground.
Without a screenshot, it’s hard to say what will “fix” the problem you’re having whether it’s a poor edge, color correction or something else.
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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 -
Without timecode or clips that match in length this will be a cumbersome process because no matter how you deal with it, you will have to match frames by eye.
Recommended workflow:
1. Bring in your high res footage into your project as a separate bin.
2. Clip by clip in your timeline part your sequence playhead on an easily recognizable frame. Click on the clip so it is highlighted/selected in the timeline.
3. Open up your high res footage in the source monitor and go through clips until you find the matching frame.
4. Right click your clip in the timeline and select “Replace Clip” > “From Source Monitor, Match Frame” and the new clip will replace the old in the timeline. I suggest mapping this menu item to a shortcut key so you can preserve sanity.
5. When finished, select all in your timeline and copy/paste it into a new timeline set to the high res footage’s size. QC to make sure everything is the proper resolution. This is now your proper high res conformed timeline.Welcome to hell. Sometimes part of being an editor includes dull manual labor.
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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 -
Manual rotoscoping with the pen tool/mask. There isn’t enough contrast in the scene for me to recommend the rotobrush.
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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 -
Ivan may be jumping the gun.
How does the footage from both captures look in Premiere/FCPX? What is your capture codec? HDV/DV?
Generally, Quicktime 7 is a terrible video player on Windows and will not render the video anywhere near what an NLE will. VLC will come close but my experience is that it will be ever so slightly darker than Premiere or Final Cut.
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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 -
I would check your bios settings to see if you can adjust USB3 transfer modes. I’ve had issues with stuttering and access times with USB3, as have others.
How do samples play off your internal drive?
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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 -
Sounds like a dynamic link issue.
Try completely ram previewing the flattened PPro sequence (I assume by now it’s placed in a comp as a layer) at 1/1 quality in After Effects, you can then go to composition > save ram preview and you should be able to save out an uncompressed file (AVI for Windows, MOV for mac). Ram preview a small portion and try to save it; make sure it works ok.
Alternately, you can try the old standby of trashing cache and preferences for Premiere and trying again.
I would also close Premiere, check your running processes and make sure “dynamiclinkmanager” is dead before restarting Premiere.
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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