Chris Borjis
Forum Replies Created
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[Eric Santiago] “I had a GH4 and GoPro for years and it was always transcode first before using it in a project.”
Good point. Now that I think about it, I had one job that used GoPro footage some years back and that absolutely would
not play smoothly without transcoding. -
Even an ssd drive is not nearly fast enough for sustained 4k playback.
It’s about as fast as an old sata raid was for SD/HD workflows. That is a huge
bottleneck right there.I’ve worked with all kinds of formats over the past 19 years and the io speed
of the storage device is what usually drives those to transcoding into other or proxy formats.
Never had to do that on any projects here.But it should give you butter smooth playback and scrubbing in your situation.
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Panning and levels adjustments I think and that is all.
Funny true story:
An indie film we did a 5.1 mix on, the director got all upset listening to it one afternoon.
He said he did some tinkering with an audio plugin and wondering why the heck the .omf
didn’t bring it in. I had to explain to him that those kinds of things are not carried over.That kind of thing, you have to “bake in” to an audio clip BEFORE exporting to omf.
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Mike raises a good point about checking it after the export.
And it reminded me that with premiere and track assignments you will
also need to make sure the levels are the same. Premiere with it’s implementation
of pan laws, actually reduces the volume of all channels by -3 during export of multi-channel sequences.
In Final cut 7.x they did it right imo. you had the options of 0, +3, +6 or -3 and -6. I had always set it
for zero and it never affected the levels on export.The work around I use is to move the fader up +3 on all tracks just before exporting, then put it back after export.
when you then import that video the tracks should be the exact levels they were before doing a +3.Fortunately this trick has worked every time and thankfully the levels do not clip.
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hmm sounds like maybe that additional loudness they added, affects previous version projects levels.
interesting. -
For me (mac version) I found the original CC (first version) with the last patch they made to be the most
reliable build up to that point. Then CC 2014 after that.The least reliable buggy version is CC 2019
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Stuttering usually means the playback device can’t decode it fast enough.
Were you playing from a memory stick?
If it was on the laptop drive itself perhaps something there is causing it.
Try a short test of a few minutes at 10mbps average with 14mbps max.
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I’ve seen this happen (the blue gradient being affected, if that is the issue) with footage.
In the lumetri panel look for the “HDR” box and check it if it’s not checked, or uncheck it
if it is checked. I know that worked for me and someone else for some concert footage once. -
Has to do with “surround pan laws.”
Google that to learn more details. Tough to explain briefly.
If you want something to export at the same level as the source,
bump all the surround channels (in the audio mixer) up +3db.You’ll find when you re-import that the levels now match.
Be cautious for any surround mixes that get near 0 peak, though
they really shouldn’t be there. (Just in case it creates distortion). -
If the file being sent is sharp, but not airing sharp then it has to be something on their end.
The only time I noticed a softer picture is when I send HD spots that air on SD sub channels.