David Alfonso
Forum Replies Created
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Jon,
The noise reduction does soften the image, but I put in just enough to minimize noise in the black areas of which there are plenty. If noise reduction is not recommended, why have it there in the first place? I often use noise reduction in PS with positive results. I guess the two modules process the image differently.
I’m not familiar enough with the red line over the timeline. There is a red line there but I need to read the manual in order to interpret its meaning.
Anyway, the second pass seems to be going a tad faster than the first. As of 15 minutes ago 53% had been completed with 19h53m to go.
Thank you, and I’ll keep you posted when it’s done.
BTW – the title of this thread should be changed to “64 hours and counting.”
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Harm,
Thank you. I’ve learned my lesson with Premiere. I will never attempt so many “improvements” on a sequence longer than 2 seconds. 🙂
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Jon.
You are quite correct – a laptop is not meant for rendering, and if I had foreseen 4 days of non-stop CPU use at max power, I would not have started. Now I’m concerned about some permanent damage to my CPU. As you suggest, I’m inclined to stop the second pass and get back to the raw footage – no fades, not frame enlargement, no noise reduction. As you say – stuff them.
Am I correct in assuming that stopping the rendering will get me back to the unrendered footage as it appears in the timeline? (i.e. the edits will remain but not fades and other effects.)
Thank you for all the help.
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Jon,
Do you care to chime in regarding my unexpectedly long second pass? If I cancel now will I have something to work with? Would going straight to Encore be faster in the long run? Waiting another 37 hours is really absurd. Nearly four days to transfer 1h25m of material is REALLY unacceptable. I have never experienced such long rendering times. (Read my other replies for a full explanation.)
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Jeff,
The wide blanking is indeed from an analog source. We shot some stuff on P2 last week, let’s see how that comes out.
Yes, I am using the noise reduction filter. I guess in trying to do as good a transfer as possible, I worked myself into a corner and now I have no idea what to do. Should I cancel the transfer and go right to Encore? Will the transcoding be faster there?
Arggggh!!!
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Try 40 hours times two! I came home tonight expecting to find the entire video transfered to mpeg for Encore; instead I found the start of the second pass – another 37 hours to go with only 10% completed. I had assumed, based on prior experience with two pass rendering, that the second pass would be considerably shorter. What exactly is going on here?! If I cancel the transfer at this point, will the first pass yield anything?
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Jon,
It’s all SD. Regarding the size increase to 102% – I just explained it in my reply to Harm. If you know of any other way to get rid of wide blanking, or what appears to be wide blanking, let me know. The material wasn’t shot by us; it happens so often I’m beginning to think it can’t all be sloppy blanking setups.
The color correction is actually a slight change in gamma since most of the footage (a ballet) is a tad dark.
“I find exporting to directly to Encore actually takes longer than just making an MPEG-2 then importing it into Encore.”
Thanks, a very good suggestion. I usually work with Avid, but I’ve found Premiere a lot easier to work with when I’m dealing with footage that’s to be rendered for DVD. Although I’ve had Premiere for years, I’ve seldom used it. But with CS3 it becomes a lot more useful. I must admit I’m a novice when it comes to Premiere, hence my search for answers.
Thank you for all your suggestions. I have another job after this one that requires nothing. With that one I’m going straight to Encore. 🙂
“90 mins of this will push the system to the brink. I’m surprised it’s stayed stable.”
I know, and it has been the cause of one sleepless night. The Dell is a fairly reliable laptop, with Centrino Duo and 2 gigs of RAM it should be. By the way, we use Matrox cards on our big systems.
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Harm,
The scaling to 102% is for the entire time line. We do this commonly in the Avid to get rid of wide blanking. When watching on a regular “old” TV set the black borders are usually beyond the scan, but with full raster displays – as in computer screens and newer LCD sets – the black borders, often of different sizes, become annoying.
I’ll reply to the rest of your comments in my reply to Jon.
Thank you. At this point any input is helpful.
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Bull’s Eye! Precisely what I was looking for. Actually, the effect is done as I had imagined. It’s just the samples I’ve seen are so darn well done, I had a hard time accepting it was a select and separate into layers in PS and import into AE.
You’ve made my week (I’m a simple kind of guy.) Thank you for the help and for turning me on to all the tutorials.
Ozzie Alfonso
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Thank you for all the links. Great tutorials! I neglected to say I’m fairly advanced with PhotoShop and a novice with AE.
All the tutorials create the 3D camera move by creating planes from flat art. I guess my question is more apropos of PhotoShop – i.e. how to take, say, a photograph, and breakdown the elements to create the different plains in AE for animation.
I know how to isolate specific objects in PS and save them as layers. But what I haven’t understood is how the 3D moves in AE appear to almost “peek” behind the foreground layer when I know that the background could not have contained what seems to be revealed. I don’t know if this is a “trick” of the eye, or if the foreground layers are made larger than the background to afford revealing more bg as the camera dollies.
Simple concept but hard to explain.
Ozzie Alfonso