[Chris Wright]

if you right click the clip, what is your frame blending set to? when I do optical, it looks really smooth. when i did a 30p to 60p last week it was perfect. no jerky or artifacts.

[Chris Wright]

Gh5 has xlr audio adaptor. Low noise audio.

[Chris Wright]

What color profile were they scanned at? As premiere only supports srgb. Merged clips have to be rendered out.
Premiere can do automatic proxies.

[Chris Wright]

Ame optical flow looks better than twixtor imho.

[Chris Wright]

nitpicking here since you asked:
try some reflection mapping, ray tracing, radiosity and match the shadows and sharpness of the camera. are you using renderman?

[Chris Wright]

and btw, how did a resolve thread end up in the adobe media encoder forum? did adobe buy out blackmagic design, lol?

[Chris Wright]

one word. opencolorio from aces.

https://fnordware.blogspot.com/2012/05/opencolorio-for-after-effects.html

The general how-to is separated in three steps:
1. Converting logC data to linear data
2. Data preview using a Rec709-viewing-LUT”, composite in linear as adjustment layer or guide layer at top.
3. convert linear back to logC after compositing.

if not using color management, you can put the viewer lut on the very top as an adjustment layer as it won’t affect the final composite(AE renders bottom to top) note: disable it prior to rendering or use guide layer. Finally, export as EXR half float AP0 2065. example: https://generalspecialist.com/vfx-behind-akta-manniskor/

if grading in resolve, render cgi 16 bit linear float AP0 2065 EXR master plates in ACEScg. if you render cgi in rec. 709, you’re clipping all your gamut colors before you even composite! you use rec 709 as viewer RRT luts, not compositing colorspace. See Step #3 VFX Magic, Step #4 Importing & Refining The Grade below.
https://mixinglight.com/color-tutorial/getting-to-know-aces-part-3/

keep in mind, premiere doesn’t support arri wide gamut directly. once you import your graded footage from resolve back into premiere, it will lose any work you did if you graded higher than rec. 709 in resolve. i.e. wide gamut, rec. 2020, p3, etc. All your work will be color clipped and show artifacts. So, if grading in a large colorspace, finish editing in resolve, there’s no going back.

get your log to linear and log to rec 709 viewing luts here.
https://www.arri.com/camera/alexa/tools/lut_generator/lut_generator/

[Chris Wright]

you could try to do it in passes. grade in one pass, then denoise in another, stabilize in another, transitions ,resize in last render. make a smaller timeline and export in sections. reduce number of nodes per pass. shrink images before import. increase swap file, toggle “use display GPU for compute” or buy 6 titans etc lol.

[Chris Wright]

noise floor is the ability to record nothing when no sound is being produced. the first to create noise is the ‘loser’.

for example, using a $5 lapel mic from radio shack with a sound devices. the sound devices won’t produce hardly any noise by itself but the $5 junk mic will create hiss. buying all that extra “headroom” for the noise floor is relative to the mic and recorder, whichever one hits the noise first. that’s why I line up similar noise floors in my mic/recorder selection.

I’m not saying it wouldn’t work. I’m just saying that your mic would create a bunch of noise waaaay before the recorder did. A good recorder isn’t going to ‘upgrade’ your mic, just remove any limitations from the recording device and place it squarely on the mic.

[Chris Wright]

SD better. although according to my sheet listed below here, you’d actually match up with a zoom f4 or Roland r-26. A Sound Devices MixPre-3 with a Rode NTG3 is a waste of money in terms of sound quality and noise floor unless you need the pro features.

to match mic quality with recorder noise floor:
1. Sound Devices/fostex fr2le + Sennheiser mkh 416/sanken CS3e
1. roland r-26/zoom f4 + sen 600/Rode NTG3
2. tascam dr-60d + ntg4+
3. h4n with senn ME-66/NTG2/Videomic Pro/Audio-Technica AT875R