Darren Edwards
Forum Replies Created
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If the capture card doesn’t have firewire but your PC does,
why not invest in a cheapy VCR player which has firewire out,
and plug that into PPro?PPro will merrily capture the video material although the
capture window won’t let you ‘control’ the VCR player – you’ll
have to do all the operational stuff like rewinding and
fast-forwarding on the VCR deck.Darren.
x-gf.com
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Zvi,
There’s are the screenshots you need. Let me know once you’ve
downloaded them so I can delete them off my server. Also, if
there’s anything more specific I can help with, just ask (or
do it though MySpace, for example.)Good luck.
Cheers,
Darren.https://www.x-gf.com/misc/PPro_transcode_tut_1.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_2.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_3.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_4.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_5.jpgx-gf.com
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Dave,
Apology accepted. Sadly, I’m now old enough to say that ‘I’ve been around
for a while’ in this business. – The BBCi channel I was head of production for
a year even won a RTS (Royal Television Society) award (Innovative Idea of
the Year 2005), although, none of my team were invited to the ceremony.
The swines.Anyhoots, what I mean by ‘uncompressed’ DV is a local term I/we use for DVCAM
rushes on the timeline which hasn’t been affected in any way, that’s all. It
kind of keeps things simplified if the final product ends up transcoded into
a million different formats.Experimenting with AE’s field interpretation settings did affect things slightly.
The field defaults in AE and PPro (in PAL projects in the UK, at least) are matched
anyway, so when I first started using our PPro/AE workstation a few years ago
I didn’t notice the lines at first, because I wasn’t expecting to see them
there. It was only when we upgraded AE and PPro with Magic Bullet, graded a
project (pop video) with some dark greens in PPro, that they were spotted…
Then this ‘oh shit’ panic of: ‘How many projects have left the building
with these noticable lines on them?’ kick in.(Reluctantly) deinterlacing helps, but not much. Twiddling with the interp settings
within PPro and AE worked, then didn’t, once motion graphics and/or plugins were
introduced. I probably need to poke a tech guy over at the Adobe forums, really, but I’m
usually too busy, and more fortunately, interlaced DVCAM projects now amount
to about 10% of what we do; it’s just one of those bugs I’d like sorted on
principle more than anything else.We’ve upgraded the PC suite with PPro2 and AE7 but the plugins haven’t been
installed in them yet so they haven’t been used.Thanks again, though, for your repeated attempts to help.
Darren.
x-gf.com
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Zvi,
Some screenshots for you. If you need more specific help,
let me know, okay.Also, let me know once you have the graphics so I can delete
them off my server.Cheers,
Darren.https://www.x-gf.com/misc/PPro_transcode_tut_1.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_2.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_3.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_4.jpg
https://www.x-gf.com/misc/PPro_transcode_tut_5.jpgx-gf.com
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Dave, I’ve used AE, Magic Bullet, Sapphire, blabla to grade, pulldown
everything from digitized Super-8 to 4.4.4 HD, over the years; the nub
I’m trying to get too is, as I’ve only experienced this bizarre field
issue with PAL 25fps/interlaced footage on a Premiere Pro/After Effects
workstation, is it an issue localised to this format, that’s all. Maybe
fellow UK-based editors have experienced it too?Darren.
x-gf.com
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No worries, Zvi.
I’ll email you screenshots of the encoding process, which should
make a bit life easier, okay. Will be done tomorrow. In the meantime,
check out PPro’s help file on what its ‘Media Encoder’ does.Cheers,
Darren.x-gf.com
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I understand Dave, but we’re talking about uncompressed DVAVI
footage being bumped back and forth Premiere and After Effects.
It makes a mockery of Adobe’s so-called seemless workflow,
don’t you think?Darren.
x-gf.com
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Studio Daily recently did a Matrox RT.X2/PPro review. They had
quite a lot of shenanigans to deal with, by the sounds of it.Darren.
x-gf.com
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This is for Premiere Pro 1 and above.
Firstly, you need to ignore ‘Export Movie’ and Premiere’s
default Quicktime (et al.) codecs for DVAVI. You need to
select the same Export box but scroll down to Media
Encoder. You should now be faced with a selection box offering
every type of encoding option from MPEG2 DVD to MPEG
4 etc.Select the Windows Media Player 9 presets and experiment with
the various presets until you’re happy with the results.Tips:
– When uploading a 16:9 film to YouTube/Google etc., import
it into a 4:3 project first, and then reARC (shrink) it to 76%,
then save it (using Media Encoder) as a ‘4:3’ or ‘Square Pixels’
project in your Options. That why you’ll maintain your aspect
ratio.
– Selecting ‘2 pass’ as opposed to ‘1’ means that PPro will,
basically, encode it twice thus doubling your rendering time.
The difference is minimal if you’re making little 320 x …
WMVs.
– You can save custom codecs, which is very useful once you
start using Premiere for exporting AVIs as MPEG2 for DVD projects,
etc.My 10 minute films I upload to YouTube begin life at about 1.5GB
but are 75megs when I finish. They still look really sharp,
but unfortunately, once YouTube’s codec machines get their
hands on it, it’s quite pitiful.I’ve been tweaking my Premiere/16:9/WMV/YouTube settings for quite
a while. If you’d like a copy of the settings I use, let me know.
You can see the quality of what’s left once they reach MySpace at:
http://www.myspace.com/xgfmediaCheers,
Darren.x-gf.com
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The wireframe/final comp was created with a 3D app such as 3DSMax or Maya or Lightwave, etc.
D.x-gf.com