Bryce Douglass
Forum Replies Created
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Here is both the sequence settings and the program monitor screenshots .
Bryce
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yes it is set to 0.9. Even the program monitor in premiere shows no black bars
Bryce
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Can anyone else chime in here?
Bryce
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I’m not talking about render the timeline. I’m talking about the Render and Replace clip feature that transcodes individual clips in the timeline rather than all the media
Bryce
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As I said in the previous post AVCHD doesn’t cut it for certain affects like Neat Video etc. Even at 1/4 playback.
Bryce
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[andy patterson] “If your computer cannot play the AVCHD codec at full resolution you can always opt to playback at half or quarter resolution. It seems like you are worried about files sizes and hard drive space when you shouldn’t have to. Trans-coding to an easier codec for playback is going to create a larger file sizes. If you opt for smaller proxies why not just view native AVCHD at 1/4 resolution?”
I do run into some problems with AVCHD. Example is I have the Neat Video Noise Reduction grain filter/remover. When you apply it to any AVCHD clip it lags and freezes the timeline but if it’s Cineform it works fine. I also have experienced other effects screwing up certain clips to the point where clip 1 is actually clip 2 but only with the effect applied. Hence I would like another solution and reducing it to 1/4 playback doesn’t fix it. That’s why I was wondering if i should just render and replace my timeline rather than transcoding the whole ACVHD card folder structure. before I add effects.
In theory Proxy should work but the Proxy files are larger than the AVCHD files which make no sense to me.
Bryce
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[Shane Ross] “Adobe will encode with a different coded from DNxHD…I can’t recall what that is at the moment. But there also might be an updated way of doing this with the latest version…can’t find that at the moment. But internally in Premiere you highlight the footage and have it make proxies. And when you render out anything, any viewing copies, it links to the masters when it does that.
And yes, CIneform also is a full res finishing format.
Shane
Little Frog Post
Read my blog, Little Frog in High Def”hmm, Well I’m definitely selecting a proxy file and it’s larger than the native AVCHD
Bryce
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[Shane Ross] “AVCHD takes a LOT of system resources to play back in real time…to decode on the fly. It might be fine to go native for a short project with limited media, say a 5 minute video. But for longer projects, best to transcode. You can either convert to DNxHD and use that for the whole process (no need to go back to the highly compressed AVCHD). But this is a less compressed format therefore you’ll need larger hard drives to store it.
Or you can use the offline/online workflow…compressing to a low res proxy file for ease of editing, and then relink to the masters when you are ready to do your final color and output
Shane
Little Frog Post
Read my blog, Little Frog in High Def”thanks Shane,
My issue is I’m unable to find a format/codec that is less file size to make a proxy. I’ve tried using the proxy files built into Premiere like DNXHD etc but they are larger files than AVCHD. Do you know why that is?
It takes quicker to make a proxy file than to fully transcode to something like Cineform
Bryce
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Is there a way in Adobe prelude to rename the individual .mts files then send to premiere? As of now I can’t stand the generic 00001.mts etc it makes. I’d like to rename them and import in to out points from prelude into premiere and rename the files to something like “scene1.mts” or “Interview.mts depending on what project I’m working on.
Bryce
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Also, should I have just shot in 24fps to begin with? All the documentary shots are talking heads mixed with still images and video b roll. So I didn’t really think 24fps was necessary since there wasn’t any motion or anything fundamental that would be different.
I’ve always filmed at 29.97 because lots of my work goes to TV or DVDs for viewing in homes.
I film historical documentaries where lots of stock footage I use is already in 29.97.
Bryce
