[Chris Wright]

some cameras that shoot interlaced actually shoot 1 frame per two fields where the motion is the same
in each field. in this case, interpreting as progressive is actually the right answer.

if not, and you still want to deinterlace, a possible stutter could be from interpreting the wrong field order
top vs bottom(upper/lower).

double frame rate is one kind of deinterlacing called (frame doubling) maintaining all quality.

if you do indeed want 25p, you should know that it has its own problems being panning speed limitations, higher shutter speeds(looking like sav‌ing private ryan) and studder, jerkyness from lack of motion information. that is why you want double shutter as frame rate, shoot 50p with 2x shutter at 1/100th so when you deinterlace it becomes 25p at 1/50th. the formula is: fps/2x fps shutter. you can fix this in post with AE’s timewarp shutter only or reelsmart motion blur.

if you accept all this and understand the limitations of deinterlacing, you now must accept the deinterlacing algorithms.
teranax and alchemist OD both give almost no loss in quality. Other cheaper alternatives such as adobe’s built in deinterlacer, virtualdub’s qtgmc, boris, fieldskit, red giant frames, all don’t post compare the frames to determine if artifacts are unwanted so they will all lose some quality.

using optical flow from 50p to 25p might be slightly smoother than a simple deinterlace if your camera’s cmos doesn’t record perfect
fps. i.e. 60fps would be 1/60.000th second.
https://blogs.adobe.com/creativecloud/optical-flow-time-remapping-tips-tricks-for-best-results/

[Chris Wright]

if you’re not selecting -configure-codec in media encoder dnxhd 709 as video levels or you want another codec that
doesn’t support it, you can burn in the video levels with a LUT. I made one that works with adobe products.

it doesn’t work with adjustment layers directly.
you have to use it in the dropdown for the export in adobe media encoder. or you can NEST it first. its a premiere bug.

also it needs to be copied in both premiere-lumetri-technical and adobe media encoder-lumetri-technical

64 cube iridas lut for burning in darker 16-235 from 0-255. it darkens image.
https://f1.creativecow.net/10598/fixmyyoutube

[Chris Wright]

skin and noise repair
AE CC 2015

this will compare, via procedural techniques, 4:4:4 to a faux 4:2:0 to analyze your footage to determine likely low quality pixels. it can blur noise, chroma, or even smooth skin without damaging details such as edges, texture, eyes, nose etc.
there are about 15 controls in main control and a show red matte. you should try all sliders because not all images are created equal.

https://f1.creativecow.net/10816/skin-and-noise-repair?uploaded=file

p.s.
you can use the blur matte to apply a simple curves adjustments to bring down highlights.

[Chris Wright]

transcoding to another codec just to grade is usually not a perfect solution as you get generation loss. the better alternative is a proxy. you can preview grades directly on proxies if their bitrate is high enough.

As for rendering previews, you only have 8 bit video so changing your sequence to a custom 10 bit preview codec won’t help any either. if you do have 10 bit AVHD, then you would need cineform 10bit preview with a 10 bit monitor.

if you do any major grading or compositing, you will need to enable maximum bit depth in the render setting. If you do any resizing, max quality.

if you don’t enable max bit depth, your premiere color engine will clamp all container compositing values in the 8 bit range, and you could get banding.

[Chris Wright]

do what the colorist wants 444.
even more grading opportunity at 444 XQ though, higher bitrate for more dynamic range.

EXR plugin is 32bpc. adobe warns about large file sizes.
max render quality- is for resizing
max bit depth -is for 32bit output instead of 8bpc for higher quality compositing and grading and higher than 8bpc output.

unfortunately, prores exports from premiere are not lossless, so try to avoid major compositing trips in premiere/ae.

https://blogs.adobe.com/VideoRoad/2010/06/understanding_color_processing.html

[Chris Wright]

none of the above; technically EXR Full Float/16bit LOG DPX is best for VFX. The next best would be 64 bit(RGB+Alpha) which is 16bpc(bits per channel, 48+16)or “half float”

The next down is prores 444 which only records at 12 bit so you’re going from RAW(which is close to float/log DPX 16bit) down to 12 bits.

So you’re losing the ability to grade heavily if you transcode out of native RAW, although most people don’t miss it for the upside of smaller size and ease of use.
proxies would be better for editing, and saving high quality EXR work for VFX. although often it comes down to data storage requirements which is why prores444, DNXHQ/HR, and Cineform 444 were created.

[Chris Wright]

blame adobe for not making this clear in the help files.

->Your sequence settings have to match the frame size of the original footage.
your proxy has to be evenly divisible as well. it resizes the proxy to the sequence size. adobe recommends putting a watermark on proxies because often you can’t tell which is which.

scaling bug isn’t fixed until cc 2017.51% is as far as you can scale without updating premiere to 2017.

if your main media is offline though, the proxy will be auto scaled to your sequences and secretly render out to your master, ahah!

fielding, frame rate, duration, and audio channels MUST match
also, the full will still get rendered even if you forget to turn off proxy.

https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html

[Chris Wright]

please post that in
https://jobs.creativecow.net/jobNew.php
under pay-no pay.

[Chris Wright]

i’d stay away from evga boards as they have missing heatsinks, bad firmware and generally overheat when overclocked. a safer bet would be msi.
you get what you pay for for gtx boards. the 1060gtx is stable for premiere but 30% slower for gpu supported tasks in premiere. it has less
cuda cores than 1070 and 1070 less than 1080. the 1060 is ok for entry level 4k resize and octane engine but the 1070 in some instances is almost twice as fast. the 1070 is as fast as a 980ti but has newer tech 2.0 code in premiere so will be supported longer. the 1060 doesn’t sli, if you needed that for any reason. you can overclock all of these cards as well. if your motherboard supports it, you can simply buy another card down the road.

the majority of reviews say the 1070 is the best bang for your buck. in many premiere renders, it is as fast as 1080 before hitting cpu bottleneck. but if you’re strapped for cash, get a 1060 and spend it on the higher core 6-8 cpu’s instead. your money’s value will go much farther.

[Chris Wright]

did you ever clean off the coffee from your $5,000 mac trashcan?

joking aside, what camera slider did u use?