Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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if this isn’t premiere specific, you’ll find all the audio guys waiting in the forum called “Audio Professionals”
but to jump-start your query, lookup ‘pink noise’. you are essentially correct. -
just use the official standard for html5 with built in alpha channel support, VP9. it also does pixel interpolation for low framerates and a thousand other things you can tweak to get that small size you need.
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i’m not going to say immediately you’re wrong. in fact, if you’re pixel peeping and don’t see much changing, I can’t really argue with that as there are some forms of h.264 that can do 4:2:2, 10 bit, but most is 4:2:0, 8 bit so even if your eyes can’t see any loss, the computer can. It won’t be able to green screen key as well or composite high contrast areas.
theoretically, a high bitrate h.264 4:2:2 is no worse than any other DCT encoding codec. And there’s even a 100% lossless 4:2:0 h.264 variant that is as big as uncompressed.
continuing from my initial guess, your eyes can’t see the damage, but if you don’t need to key, heavy color correct, and only need a 1 generation copy and export, and it makes you happy, then that’s fine too. it’s not wrong if it works, I just wanted to make you aware of possible problems down the road.
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sounds like you have a bunch of precomps. you can pre-render them out in pre-sequences or even do the old multi render engine trick where you render out half the sequence as images in AME, and the other half in render queue.
also, any images that need to be resized take 10x longer. I’d look up all the things that bottleneck multi proc rendering including noise reduction, ray tracing, 3d rendering, etc. -
Premiere sends out two signals, 100 nits with HDR off and 1,000 nits with HDR on. There’s no in-between. If you want to use an adjustment layer over your whole timeline, that’s up to you. If you want to go brighter than 100 nits, you’ll need a hardware box to ‘see it’. I guess it does’t matter how dark you’d want to make as long as you turned off the adjustment layer before exporting. That’s the old psuedo EXR color correcting they used to do in the 2009’s before ACES. And, uh, well Premiere still doesn’t support ACES, lol.
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if the sound is not overpowering the voice, you might be able to use capture noise print or learn sound model in audition.
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if your video falls outside the range of the lut, premiere will clip it first. you would need to bring it into range with an above copy of lumetri, so just watch out for that.
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adobe premiere is rec. 709 2.4 gamma 100 nits unless you’re doing HDR(which needs a special box) Your TV will need to be calibrated the same as premiere to match.
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Shooting RAW reduces moire over Prores as the moire is not burned in yet. The Rawlite OLPF is probably the highest quality option and it also includes a free IR filter built in. Cheaper options will visibly reduce contrast like Promist 1/8. To find moire, you’d want to accentuate the flicker effect. You can do this by recording a monitor from another video recorder and offsetting the framerate. The moire flicker will be very pronounced.
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there is no log, its 8 bit, low dynamic range, bad iso performance(grain, banding). low bitrate IPB 120Mbps, Full HD (59.94p/50.00p)/IPB Approx. 60 Mbps. I think the real question is, why were you expecting good video quality? the only thing you can do is shoot iso 100 and try overexposing a little, but the sensor has extremely severe black levels issues even at iso 100. I consider this camera unusable for video and recommend trading as fast as possible.