Angelo Lorenzo
Forum Replies Created
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Premiere looks at system codecs for Quicktime and AVI. The exception are h.264 quicktime files – these are recognized by Premiere and Premiere’s more optimized playback decoder kicks in.
There are some addition codecs that do extra system registration specifically for Premiere – Blackmagic and GoPro Cineform do so they show up as extra items on the main list and not just as codecs under Quicktime or AVI.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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[Adam Eyster] “If I manually drag the handles it’s showing 2048×1040 . Do you think this would work for a DCP or will it cause issues? Maybe I could just use this manual crop for vimeo/youtube versions and let them deal w/ the DCP?”
Just punch in the dimensions manually, 111 for top and bottom. DCP is really only one of about 4-5 different sizes and I wouldn’t trust the lab doing the DCP to do cropping…. that said, I’m surprised the trailer wouldn’t go out MPEG2 or something else, trailers are just loaded onto the projector’s media server with all the pre-movie ads. *shrug
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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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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 -
Two options
1. Make a copy of all production audio, run it through batch processing and relink Premiere’s audio to the location of this newly cleaned audio. Great flexibility for re-editing.
2. In Audition, mix down your multitrack sequence as one stereo (or whatever) pair, apply noise reduction to this master track and re-import. Less flexible for re-edit but faster.
[Shravan Ram] “4) Solution ? – Is there anyway to remove background noise in Premiere WITHOUT using denoiser ? Say using only ‘Dynamics’ and ‘EQ’ or ‘Multiband Compression ‘ ?”
Yes, Waves makes some excellent plugins like the NS1 and WNS but you will not like their price. These are, basically, very advanced multiband expanders tuned for noise removal.
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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 -
Rotoscoping or planar tracking in After Effects.
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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 -
1. Put in 2048×1080 timeling
2. In Export Window, set output to DCP’s size 2048×858
3. In the export window, in the upper left of the source tab, hit the crop button and punch in 111 for top and bottom (the difference between 1080 and 858 on top and bottom
And yes, it crops in quite a bit, but this should have been planned for in the whole process if you’re shooting a scope film…. otherwise you should choose a DCP size that more closely matches your film’s aspect ratio.
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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 -
Have you tried any cross conversion or standards setting within Blackmagic’s control panel (In Window’s Control Panel or OSX system settings).
Alternately, edit in a 50i timeline and then select-all-paste into a 25p timeline for export. The working timecode for either 50i or 25p is 25fps SMPTE standard timecode – all reference timecodes should work. That said… I wonder if progressive material in a 50i timeline would export without quality loss to 25p, my guess is yes in Premiere.
Just a small workflow change may be in order.
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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 volume selection works much like clip paste position:
1. The clip selected for volume adjustment is the lowest currently selected track for targeting.
2. The volume of a clip will also be affected regardless of targeting if it’s linked to the targeted, adjustable clip.
In other words: if dialog is track 1 & 2 and music 3 & 4 then brackets will work for tracks 3 & 4 if you untarget tracks 1 & 2
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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 -
Presets for Premiere mean very little – they are templates for sequences but they won’t make or break a project if you choose one 1080p29.97 template vs another. That said, since you’re on Mac, CS6 should smart render ProRes so I would alter any selected sequence presets to the “custom” editing mode so you can unlock and choose ProRes as your preview render codec.
I would export out a ProRes master at 29.97p.
The thing about 29.97p (frames per second) is that conversion to 59.94i (fields per second) is that the upper and lower fields are generated from the same frame – it’s a conversion programs rarely screw up.
From there I would choose AME for DVCProHD export (quality over Compressor if Compressor exports this format is splitting hairs I’m sure). For h.264 delivery I suggest FFMPEG for encoding – the reason being is that keyframe structure is pretty strict and it’s difficult to really get that fine control with AME or Compressor, plus I think x.264 is a squeak better than MainConcepts’ encoder and miles ahead of Quicktime’s encoder.
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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 -
Premiere Pro internally displays everything as Full range – in other words RGB and YUV will 0-255. If you export to a YUV supporting codec, then other programs will read it properly as 16-235.
Premiere behaves this way because it’s easier on color management and other things, white is really white and black is really black. It does have a tendency to want to truncate super black and super white, just be aware of that; effects with the YUV symbols will respect this.
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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 -
1. Make sure your system has all current Windows 7 updates installed, try legacy driver again but with no firewire devices connected (restart your system after the driver switch, reconnect your deck and retry) then try this 3rd party firewire driver https://www.unibrain.com/products/ubcoretm-1394b-drivers/ (it says no AV support but it’s recommended over Window’s Default driver, so give it a try anyways)
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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