[Brian Maurer]

Yeah, that flyout menu is where you choose Max Render Quality (MRQ). I had already turned off the XML data, and didn’t really see an improvement in encode time. Does Adobe have the ability to transcode before you start editing, or do I need to find a third party program to do the transcoding?

[Brian Maurer]

Ah I see, a Mac user. Yeah, a friend of mine in LA was talking about how he uses Compressor, and how FCP detects all this natively. That’s probably why there was some confusion.

Unfortunately, I’ve found no evidence that Premiere Pro does the reverse telecine. That’s why I’ve been looking into AE. Seems to be the only Adobe tool that does an efficient job of this.

“Do I have to maintain the absolute best quality I can, and suffer with clips that may not play smoothly? Id go with the Animation codec at best quality: it’s compressed, but LOSSLESS.”

I’d rather not lose any quality, so I might have to try this.

Do I have to do very little extra to the clips? I might use the Photo JPEG codec at 95%.

This is also an option, as I don’t really have much else to do besides cross fading, cutting. I’d love to use the plugin Magic Bullet Looks, but that eats up a LOT of processor, and I’m just not sure it’s really worth it; not yet

My admonition about big file sizes still holds: “high quality” and “small file size” are mutually-exclusive terms. Get used to big files.

Yeah, I’m prepared. I think the problem is that I just didn’t think that my computer would have such an issue with these larger files. Something like 2 gig lags out, whereas I used to be working in the DV realm, and I’d be working with a 4 gig file, no problem. My friend suggested that my bitrate was way too high, and that might be the case as well. He suggested I aim for 150mb/s, but of course, AVI rendering doesn’t have a bitrate adjuster, as it’s uncompressed.

I’ll give the other two settings a try and see what happens.

[Brian Maurer]

Yeah, sorry that I wasn’t as clear as I could be:

The Canon HF100, when in 24p(f) mode records to mts files. Though Canon suggests that this is true 24p, it actually is run through a pulldown inside the camera, which changes the files into a 60i stream. When you open the mts files in Premiere Pro, it registers the files as 60i. But there’s a blur that is caused, as the pulldown is adding frames to get it up to 60i.

You can open these files in Adobe AE, and do a reverse telecine to get it back to 24p. That’s what I’m trying to do. And that’s the easy part. Getting it back to Premiere is where I’m having the issue.

AE doesn’t have a whole lot of ways to render out with decent compression and keep quality. I have a 2.8 gig quad core, 4gb ram. When I exported a 17 second clip, it was 2.8 gig; when I exported a 2m37sec clip, it was 14 gig (both uncompressed AVI).

I’m wondering if there is a better way to get these files back to premiere, keeping the 24fps, and not creating huge files that my computer will lag on.

I hope that’s a bit more clear.