Blaise Douros
Forum Replies Created
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Andreas–you’re right, I’d forgotten that quirk about .srt. Could the problem, then, simply be an improperly interpreted video file (i.e. the srt is “correct” but the video’s framerate is the real problem)? If the video is 23.98, on a 23.976 sequence, perhaps the answer is to interpret the footage to 23.976.
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Is the .srt timed to 23.976, or 23.98? If my math is right, a 23.98 .srt on a 23.976 timeline would have drift of 4.8 seconds over 20 minutes. If the .srt is reading as 23.98, try interpreting it as 23.976.
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Hey, I learned something new this week! I wasn’t aware that duplicating the project increased the render time so much for multiple outputs.
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Did you, by chance, just upgrade your GPU driver? Someone else was posting about similar issues in After Effects the other day, after updating drivers.
Try switching renderers to Software Only? If that fixes it, then I’d suspect the graphics card.
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You can only re-link one clip at a time, as far as I’m aware.
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You won’t be able to set a preset for rendering off two files, but it’s not a long process. There are two ways to do it, both of them pretty easy.
Hit Command-M to open the export dialog. Set up all the settings that you would set for your ProRes version, including the name and export location. When it’s all set, instead of pressing “Export,” press “Queue” and Premiere will send the project over to Adobe Media Encoder.
At this point you have two options to duplicate the sequence as an MP4 export.
Option 1: go back to your timeline, hit Command-M again, and set up the MP4 export. Hit Queue, and Premiere will also send THAT to Adobe Media Encoder.
Option 2: in AME, duplicate the project (click on it, then hit Command-D) sitting in the Queue section, and click on the Preset settings (the second column). Set up your MP4 settings. You also have the option to save a Preset in AME with your preferred export settings, which will show up in the Preset Browser on the lower left of the AME window. If you do this, you can duplicate the export, and drag your preset to the second one from the Preset Browser, and your second one will be automatically configured to the export settings in the preset you created.
Then hit the Play button in the upper right hand corner. AME will crunch out both copies (or as many things as you’ve added to the Queue), from top to bottom.
As a bonus, it does this export in the background so you can keep working on other things in Premiere. You can even keep working on the project if you’re just bouncing out a rough cut for review–AME gets a copy of the project in its current state, so whatever changes you make in Premiere after Queueing a timeline don’t get transferred to the export.
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If you want hard edges, you’ll probably have to mask by hand. These tools are all designed to improve masks by softening hard edges–they’re really not designed to make a matte look worse!
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It’s hitting the edges of your layer–Displacement only works within the layer, it doesn’t change the shape of the edges. To solve this, you could precompose, and reduce the size of the $100 bill, so that the displacement stays within the bounds of the precomp.
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For the money, I think you might be better off with HDDs.
OWC makes 8-bay RAIDs that will get you a lot more storage space for the money, with performance that should be adequate for your needs. Plus, if you decided you wanted to go to SSDs at some later date, you can swap in 2.5″ SSDs to these enclosures.
Just my personal opinion, obviously, and there are other vendors than OWC, of course. If you just WANT to get NVMe, I think it will probably be a good experience. My approach tends to be to get more good-enough storage, so I have enough speed and more space, rather than enough space and more speed than I can really use.
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If the camera is locked off, and you get a REALLY clean background plate, you can do a Difference Matte. That’s basically what Zoom is doing in real time, with a few algorithms to help out.
The problem is that Difference Mattes are VERY touchy, so minor changes in lighting, a plant moving in the background, can all cause it to break down. It’s a good solution for short shots where you’re in a big pinch, but for longer shots, it’s not very feasible.