Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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Premiere now has an auto-ducking feature built into sound panel.https://www.youtube.com/watch?v=rSRZx_3Ph-g
if you’re talking about balancing all audio clips before final mixing, you can normalize, then use audition’s RMS root mean square, then polish with a LUFS standard for your geographic area.
There’s also some auto fader plugins for audition, but any fader itself will also raise/lower noise, so sometimes its better to use audio compression. 2-3:1 is a good rule of thumb. actual levels of -23db quiet talking, -10db loud talking, -2db yelling is a rough guide, but leaves room for dynamic range.
try it both ways and see which sounds better for your ears.
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you should be able to run that linux/mac command in your first post, im guessing.
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can’t you label them as digitized as well? in format label = [ ] is the actual name of the virtual drive.
and in windows, you can right click, hardware details in windows to pull the strong name properties which i believe is the CID. so should be a similar method in a mac. -
from my understanding, the scopes don’t determine quality. premiere works in 32bpc and then either dithers back to 8bit , 10, 16 bit on export. you can keep rec. 2020 colors from clipping to rec709 if you export in one of four special HDR PQ codecs. Grading in HDR requires an external monitor because premiere’s timeline is hardcoded to rec. 709 so you won’t ‘see’ the HDR.
10 bit and Rec. 2020 are separate things. precision and color gamut respectively.
unless you’re trying to upload HDR, there is no particular advantage to trying to setup HDR as the GH5s only has 12.5 f-stops of data. If it can’t record PQ, then you’re effectively baking in a fake HDR with warped brightness.
Indeed, this article says to record in V-log-L for maximum dynamic range, then transform to PQ in the grading stage.article is not premiere, but a good read.
https://www.mysterybox.us/blog/2018/1/8/panasonic-gh5s-hdr10The sticking point here is that premiere uses PQ for the luma curves, but HDR10/HLG uses Rec. 2100(which, afaik is not supported by premiere at all) Another problem is that lumetri’s lut checkbox disables HDR mode completely.
-export HDR to youtube from premiere
https://forums.adobe.com/thread/2293073supported exports for HDR
• HEVC .MP4 | 10bit | Bt.2020 | PQ• H.264 .MP4 | 10bit | Bt.2020 | PQ
• JPEG 2000 .MXF | 12bit | Bt.2020 | PQ
• Sony XAVC-Intra .MXF | 10bit | Bt.2020 | HLG
https://forums.adobe.com/thread/2612343 -
if you want to share it to people with a 4:3 screen, why not just black matte the sides to square?
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anything done anamorphic automatically means a loss of quality. squeezing and desqueezing even 6k or film equivalent leads to a softness. now, in a phone with a sub 100K lens, who knows what chromatic aberation, distortion, softness gets introduced. one could argue you can matte it out later if you don’t care about those lens flares, but i’ve also noticed that some authentic looks actually come from an imperfect inverted barrel distortion.(subtle)
also, I have even recommended that people grade their Go-pro images before removing the lens distortion as that actually causes banding if done before grading. so your issue with a small sensor may be very much related.
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your subject made me think, oh, he’s gonna say a good thing, tricked me!
CUDA is only used for a few effects, scaling, max bit depth. 99% of stuff is CPU as decoding of video is still done as a cpu process. the ability to playback h.264 or heavily compressed video inside premiere would require a 7ghz proc that doesn’t exist. I think davinci is optimized better for this though. you may would to look at proxies for video. the pugetsystems website lists what your system can do.-as you can see, 16fps is max!
https://www.pugetsystems.com/labs/articles/Premiere-Pro-CC-2018-Core-i7-9700K-i9-9900K-Performance-1254/#LivePlayback-BenchmarkAnalysisupdate your video drivers from the manufacturer, not microsoft.
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DCP’s get converted to flat XYZ gamma 2.6, so if you want to see it, you’ll need a player that sees that color profile. mpc-hc can play it back and openDCP player(set the output to the color of your monitor)
Premiere’s monitor shows rec 709 gamma 2.4 timeline, even with color management on. The player you are using determines how its played back. It should look fine if you re-import back into Premiere. -
where’s it going to? DVD? PAL can playback NTSC 23.976 stuff, web, doesn’t matter.
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you’d have to determine what the native film frame-rate was, since you’ll be choosing between odd looking speed changes or optical interpolation.