Angelo Lorenzo
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For the second part, try exporting jpeg frames and see if it crashes consistently on the same frame.
This can help you troubleshoot issues like having a corrupted video file, or if you have titles or a psd file overlay, making sure those aren’t corrupted, and so on.
Angelo Lorenzo
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 -
Have you tried Sequence > Render audio?
Premiere Pro conforms all audio to 48k which means any playback at 44.1 is being processed real time. This is true even if the source clip is natively 44.1
That’s my first suggestion.
Angelo Lorenzo
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 -
Mac OSX calls them kernel panics, but I don’t know how they’re logged. Regardless, I would try to look at the RAM settings in your bios. Either setting the clock speed down ever so sightly, or the voltage.
My motherboard, for instance, had the RAM set at 1.5v but it reported it running at 1.515 volts. I had the same issue, anything that was too RAM intensive like After Effects would push my system over the edge. Dropping the voltage setting to 1.475 to account for the .015v overhead that was coming from somewhere fixed the problem immediately.
Angelo Lorenzo
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 am saying that Adobe has shifted from tape-based ingestion to support more progressive tapeless workflows. From their site:
“Sales of Adobe® OnLocation™ software ended on April 23, 2012. Development of Adobe OnLocation is being discontinued based on the growing trend in the video and broadcast industry toward tapeless, native workflows. To address the need for logging and ingest in preproduction tapeless workflows, Adobe is introducing Adobe Prelude™ CS6 software. Prelude is an ingest and logging tool that helps ensure your media is tagged with the right information and is easy to find, allowing for more efficient post-production workflows and improved lifecycle management of your footage.”
Who can blame them? Can you name a HDCAM camcorder released in 2011 or 2012? You’d be hard pressed. Granted, update cycles for people don’t preclude the use of older cameras but Adobe has chosen to concentrate on new technology.
OnLocation and Prelude still share many of the logging and metadata management features and I would say that this is the core.
Scopes went bye bye in Prelude because Prelude is no longer capturing media, just logging what’s been captured in the past… it’s not designed to emulate an on-set monitor for that reason. If you want scopes and HD-SDI capture, request it https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
Angelo Lorenzo
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 -
OnLocation was superseded by Prelude. The Ultra keyer is part of Premiere as an effect, but Adobe has commented on the issues and lack of demand for the virtual backgrounds so they aren’t dumping resources into it.
Once Adobe purchased Iridas, they had Speedgrade in the suite in less than a year. Engineering efforts were, I can only assume, to focus on taking a highend niche product and tweaking it so it could be deployed on many different systems.
Sure Adobe has merged technologies like Ultra or OnLocation, they’ve also acquired software that has flourished like Flash, Dreamweaver, and Audition (formerly cool edit pro).
Adobe rarely kills an entire product, so I strongly consider Speedgrade safe besides the fact it has an embedded userbase from Iridas clients. They don’t have a history of doing what Apple did to Shake, for instance.
Angelo Lorenzo
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 -
Follow the steps online to look at blue-screen-of-death logs. I assume from your custom system that you’re also running Windows. Windows, by default, doesn’t show the error screen when it hits a fatal error; the system will just restart.
From experience, it’s usually from bad RAM. Either a bad stick or too high of a clock speed or RAM voltage if you have the ability to customize those settings in BIOS.
Angelo Lorenzo
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 -
Do you have a budget, or whatever works as long as the price is fairly practical.
The Manfrotto 503 head + carbon fiber 536 legs has been a solid combo for me. Weighs in, according to spec, at 11 pounds.
Angelo Lorenzo
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 -
Premiere isn’t as complicated as Final Cut in this regard. You have to ask yourself:
1. Do I want the speed to remain the same?
2. Do I want to change the playback rate because I was shooting with slow motion or fast motion in mind?The answer to the first is easy. Say you have a piece of footage at 23.976 and you want it to be 29.97. Drop the clip onto a 29.97fps timeline and you’re done. Premiere will auto conform. Sure there will be some slight artifacting from the change (frames will either be repeated or blended, but Premiere does a decent job) but it’s decent enough that you usually don’t have to resort to more esoteric ways of converting framerates, say, in After Effects (using Twixtor or Timewarp, as both have optical flow resampling)
The answer to the first is as you describe in your opening post. Interpreting footage using the Interpret Footage command changes the speed of the clip, it’s native playback speed. Probably not as useful as the first solution but if you use it in conjunction with a good speed changing plugin once it’s on the timeline you might find the motion artifacting to be more pleasing.
Angelo Lorenzo
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://avid.force.com/pkb/articles/en_US/Download/en392959 Avid DNxHD
When installed, it shows as a Quicktime codec.
When you say “I’d rather not edit AVCHD” then I assume you want something that processes much smoother.
I would go for one of the 720 options for an intermediate and worry about scaling down to SD at final export. With reality, having that wide screen keeps the option of pan & scan.
Intermediate codecs are kind of large but if you’re working off of eSATA then I think your head is in the right place to begin with.
Angelo Lorenzo
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 -
First thought would be to run noise reduction but not to remove noise completely, I’d probably set the “lower noise” setting to something like 6-12db, whatever kind of evened it out with the ducked portion. It shouldn’t eat up too much of the vocal quality that way either, even though it seems like wide band white noise.
Angelo Lorenzo
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