David Baud
Forum Replies Created
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Have you repaired permissions on your system drive? have you cleaned up your Premiere Pro preferences?
Can you open Apple Activity Monitor and see if you can see any components of your system that is not responding? Usually it is highlighted in red.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I agree with John… which camera are you using that cannot shoot 1080p25?
For some reason if you cannot shoot 25fps,and you know it’s going to be converted, you will get better result shooting over-crank than under… so I’ll choose 30p…
My 2 cent,
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I believe what you want to do is create a mask for that area and get back your level just for that selection. Depending on your shot it might involve some tracking… or create a mask based on the luma.
In DaVinci Resolve this is what you would achieve using power windows
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Do you need to keep the same speed? do you need to keep the video sync with the audio?
In After Effects, you could interpret your 12fps source footage to your master timeline frame rate and see if it suits your needs. As suggested you could also use Time Warp and set to best quality (optical flow).
If you are considering using an external plug-in, I would recommend Revision FX Twixtor which will allow you to conform from 12fps to whatever frame rate is your master.
In any case quality of the conversion will depend on the quality of the original footage and the type of motion involved inside of your frame.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
are you on CC? If so I would just export your timeline using one of the Youtube 1080p preset. Then depending on your quality vs compression target, I would adjust your bitrate accordingly.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Looking at your screen grab, it looks like you are working with RED footage. Could it be that the footage you are referencing to is part of a clip span? you may have to deal with it manually…
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I am guessing you are talking about 60i (interlaced footage) and not progressive? and it sounds like your original footage was shot 24p and some pulldown was added (either in camera or post depending of your footage history!)
So first thing first, you need to remove your pulldown: I usually use After Effects, and in your interpret footage it lets you interpret the kind of pulldown you have. Make sure you established the right pattern by playing one frame at a time in your source window and that each frame is unique.
HTH,
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Do you have any requirements for your master?
If not I would choose the smallest frame rate you’ve got (24fps) and conform everything to that. It is easier (from a software point of view) to take out information than to recreate some frames by interpolation that do not exist. In After Effects I would use ReVision FX Twixtor to get the best result.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Quicktime is the wrapper. Quicktime can hold many types of codecs depending on your needs and workflow.
For archiving you may want to choose the Apple ProRes HQ codec (you will be able to cut these files in either FCP or PrP) or you could choose uncompressed. It really depends on the quality of your original footage/master. The choice you make for the codec will affect the quality and size of the files.In any case I would recommend some testing on your side with different codecs and see what fit better for your project.
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
To me it all depends what you need to achieve in your round trip workflow and what kind of program you are working on. If you have some compositing, transitions, etc… it might be more difficult for your colorist to work with, you might loose some of the original quality of your footage, and if you need to be able to make some changes after color correction, then flattening the file before hand might not be the best way to handle this workflow.
It sounds like in the case of Walter this is a non-issue and this is certainly the fastest way to deal with sending a project to Resolve. All what I am saying is I don’t think it will work for any type of projects. I guess horses for courses!
David Baud
Post & VFX
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com