David Roth weiss
Forum Replies Created
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Dan,
It’s pretty hard to offer much guidance without knowing much more about the precise codec you’re editing, your sequences settings, and your methodology for encoding.
I did see some horizontal artifacts during playback, but I can’t really be sure how those came about without knowing the details above. Are those your primary concerns, or are there other artifacts? It’s very tough to notice the problems in a relatively long completed project of this length without having detailed notes and timecodes.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Magee McIlvaine] “So in this case, with a ProRes HQ timeline, would you use the raw files from the different cameras, including the h264 5d files, and not transcode?”
Yes! That’s precisely the advantage of the Adobe apps – the Adobe Mercury Playback Engine is kind of the Holy Grail of editing, because it can play virtually anything in realtime.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Have the transcripts done by pros, and with timecode. It’s not cheap, but the ROI on transcripts is invaluable. Keep in mind, that every person working on the project can have a copy of the transcripts on their computer, their phone, their iPad, etc., enabling everyone to research sound bites with timecode from anywhere. Transcripts literally allow everyone you’re working with to be “on the same page” at all times, and they allow you to locate and select sound bites much quicker, because you don’t have to play clips in realtime to listen to what’s being said other than the first time when you select good sound bites an use a highlighter to mark them up on the pages.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Thomas Engelaer] “If you go to system preferences and then Nvidia driver manager then under graphics drivers you can select OSX
default driver. Up until now its working for me so its good to try.”The default driver works Thomas, but you’re not getting any GPU hardware acceleration.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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For the most part supported Nvidia cards use Cuda, and AMD/ATI cards like yours, and some unsupported Nvidia cards, use OpenCL. Remember that, as it’s essential info every editor needs to know.
Whenever updating the OS and/or your Adobe apps the default GPU driver is installed, it’s up to you to search the Web for the latest driver for your card if there is one, then install that driver and enable OpenCL in Adobe preferences when it’s properly installed.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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I’m not defending buggy software, but just keep in mind guys, this release is acknowledged to be Beta software.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Seems like it’s time to either take the time to cut it in manually, reexport from Logic with the proper timecode if possible, or, do the following cheat.
Put the long clip in a new sequence that you manually set to the precise timecode that long clip starts at, then export the audio with the new timecode. Then you should be able to figure it out from there.
In the future, you should move all the audio from the bad clip to its own track, then export only that track, fix that in Logic, then replace the entire track.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Magee McIlvaine] “David, would you then edit a project like this one in a pro res sequence/timeline? Basically look to set the sequence settings to match what I aim to export to for masters?”
Absolutely Magee!!! If you create your sequence using the highest “practical” standards, every technical and creative decision you make will trickle down properly into virtually any alternative deliverable you need to create from that master. (***by practical I mean don’t go overboard – in your case, a 4K ProRes HQ master would be a terrific choice.)
Meanwhile, if you go the other route, if you ever have to deliver a file type with greater pixel dimensions, color space, etc,., you’ll have to make all kinds of adjustments to things. Elements like titles and their positioning, compositing, and possibly color grades and other FX, will all require tweaking.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Mark Norgate] “You don’t really have a prores timeline as you would in FCP. You should pick your timeline according to how you’re delivering (sounds like you’re delivering at 1080p) so pick an appropriate template (DSLR 1080p sounds about right for you)”
Phew! I think that is horrible advice.
Choosing the right sequence settings is not so different from FCP as Mark makes it seem, as you are essentially mastering in both apps, i.e. choosing settings which allow you create a final high-resolution sequence, preview, and output designed to generate a final master file from which you can create any other deliverable.
By choosing the DSLR preset, you would be creating MPEG preview files that are NOT at all well suited for mastering.
One should always shoot for a master that has the highest practical resolution, the highest practical highest color depth, etc. for your purposes, and those purposes tend to evolve with time. So, while today you may never imagine needing a 4K output, twenty years from now, when someone is building a retrospective of your work, or when interest in your film is suddenly revived, you’ll certainly be wishing you’d mastered in ProRes rather than MPEG. And, color grading MPEG for example is not only much more difficult than color grading Pro Res, but likely to yield results that don’t hold up nearly as well when encoding to Web videos, DVDs, etc.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Raul Zeummes] “I was under the impression that the blackmagic decklink 4k extreme 12g did do hardware acceleration for 4k playback, on their site it says capture and playback in 4k.
If that’s not the case, what is a good hardware accelerated 4k playback card ?”GPU cards provide hardware acceleration, I/O cards and devices for the most part do not. When BM writes: “capture and playback in 4k'” they mean their latest hardware and software now supports input and output of the latest 4K codecs, the previous versions did not.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.