[Bret Hampton]

Shane Ross is totally correct about this.

I would think almost no one here has a calibrated BROADCAST monitor. If you did you’d understand network/cable delivery standards and what video should look like. Plus how things get screwed up down the chain (cable providers mistakes, home viewers setting up their sets too bright, etc.) My brother loves the brightness and saturation cranked way up. I just tolerate it since if I ‘fix’ it for him he’ll just change it back.

As for the squished 16×9 producer’s problem.
Years ago I used to receive standard def master videos from one of the most famous cable networks and the labels would often say 16×9 when it fact they were 4×3 letterbox. Other times they’d be 4×3 center cut (sides cut off). Our delivery standards always said 16×9 only. People screw up sometimes. My guess is the producer’s cable provider had some inexperienced operator who didn’t understand the settings of his encoder and sent it out wrong.

At trade shows like NAB you can see all kinds of Broadcast monitors from Sony, Panasonic and others. They aren’t cheap. They exist for a reason, to know your stuff looks right.

[Bret Hampton]

I think like many people he just writes 23.98 when he means 23.976. I know I do. If you round up then he’s correct. Anyway I’ve never seen a 23.98 edit mode in Premiere although they have 24.00, 25.00, etc.

I come from broadcast tv and people were always saying 30dropframe when they meant 29.97. We just got used to it.

[Bret Hampton]

Thanks Tero

That was the information I needed but couldn’t remember. As configured my system isn’t fast enough. Do you play dpx files? What drive setup could handle this?

[Bret Hampton]

Ryan

You need to talk with the post audio people before proceeding. Most audio work is done in Pro Tools with a specific workflow (with variations). Consulting with them now will save much hair-pulling later.

I’ve been editing Premiere since the 90s and didn’t really understand post audio until last year after taking a class. I thought I got it, but I was so wrong!

I’m sure your audio editor will ask you to keep the originals and not do tricks like doubling tracks to increase volume. They have separate tracks for each actor, sound effect, etc which we often miss. There are a lot of things you can do to make things easier for him without making your own work harder.

Plus you’ll learn a few tricks to make your own work better!

[Bret Hampton]

That’s good

[Bret Hampton]

Bill

That’s an odd one. Only thing I can think of is you’re editing clips with Long GOP structures. Those can be 15 frames and you can’t cut within that range. These are used in DVD/Blu-ray compression. Check your sequence settings and file types.

Also try the same thing with a Color Matte. Make a matte, put in timeline and stretch out to several seconds. Razor cut within that. If it works that points to a file issue. If it doesn’t work maybe sequence settings.

[Bret Hampton]

I think the only way to do this is create a New Sequence and set the TC start to match your source TC. Drop that file into the sequence and add the Timecode effect, then Render a Quicktime, H264 or whatever your client prefers.

Robin
Il faut ajouter la pluart des effets dans le Sequence en Premiere. Je ne connais pas d’autre moyen d’ajouter des effets

[Bret Hampton]

Hi Tero

Am using G Tech Gspeed es in Raid 0, all Enterprise class 7200 rpm drives. DPX files are 2336×1752 16m each at 23.98. (These are 4×3/1.33 film scans of a 1928 movie.

[Bret Hampton]

According to NVIDIA, export rendering is greatly increased with their cards, in one example a 3 hr render improved to 3 mins.

https://www.geforce.com/whats-new/articles/adobe-premiere-pro-50x-faster-with-geforce-gtx

[Bret Hampton]

Whenever processing video then transferring to another NLE I think it’s best to render out to the best codec it can handle. iMovie isn’t a pro NLE and may be limited on codecs it supports, but QT ProRes422 HQ should be available and look good.