Duke Sweden
Forum Replies Created
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Haven’t had a chance to read it all yet but this may be of interest.
https://nofilmschool.com/2014/09/massive-difference-export-quality-fcpx-and-premiere-pro
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I did another search on this problem and 6 threads on the adobe forum came up. This problem goes back at least as far as CS6, so I don’t think Adobe is in any rush to fix this. Just curious if users of other NLE’s have had this problem. I’ve never seen any complaints.
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Well, you could choose all the clips in the project panel, right click and choose export and they’ll show up in Media Encoder as individual clips, but since you have to trim them, if you’re not adding transitions, you should put each clip in its own sequence instead of one timeline, then select all of the sequences in the project panel, right click and export. No need to rinse and repeat ????
I’m sure someone else will probably have another approach using keyboard shortcuts, but until then…
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Through months of intense research I’ve discovered that AME does not like h264. When I encode using WMV I get exact reproductions of my video as they appear in Premiere Pro. I realize this is not an option for you pros (although I see no difference in quality, it takes FOREVER to render to wmv), perhaps this can give the engineers at Adobe a starting point in troubleshooting the problem.
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Just as I suspected. Cheers.
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Of course what I meant is you guys can’t possibly put up with the color guessing game, you must have your methods of dealing with it, as you laid out just now. I didn’t mean you actually choose to live with an inferior way of having to do this.
Now I know why you don’t bother explaining how you go about getting your colors right. It’s not just a matter of adjusting preferences in Premiere Pro.
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Now, now, David. I never said I wasn’t a lunatic ????
Contrary to my many posts I’m NOT a pixel peeper who spends more time fretting over codecs and firmware upgrades then I do making my videos. I’m not exactly pouring over technical manuals trying to find the perfect codec or wrapper. But as many others here beside me have pointed out, there is a difference between what you see in Premiere Pro and what you see when you play your encode in VLC or Quicktime.
And no one has ever supplied a solution. I refuse to believe that you guys, who do this for a living, choose to live with this. In my day to day musings I came up with encoding to wmv just to see what I would get, and what I got was exactly what I was seeing in Premiere Pro. NOT being someone who has to deliver “product” to “clients”, I “fail” to see “why” I should “limit”….sorry, quote mark key got stuck ;-), I fail to see why I should limit myself to delivery codecs. It’s easier to get my look by using wmv than it is to tint my skin tones towards green, or darken my exposure towards Haunted Forest, and hope the tweak makes the encode look the way I intend it to look.
Not that I mind your occasional input, David. It’s always nice to balance out the other Dave’s manic ramblings with your calmer tone ???? (Just kidding La Ronde!)
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Can you open another project, or start a new one? It appears some keyframed effect is causing the crash, which I’ve seen happen more frequently in After Effects, but…. I’m probably wrong, but if you can open/start another project then that likely could be the case.
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ok, FINALLY. My kelvin white balance was close but not quite but, then again, I’m trying to set it according to my failing eyes. But the manual white balance came out perfect and I’m able to grade my video much more easily than the past week. I’m including a screen shot here. This, to me, looks perfect (I like my video a little darker) but please do let me know how it looks on your calibrated monitors. Too light, too dark, waaay too dark, or good. This way I can get an idea of how off my monitor is.
Thanks in advance
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OK, got somewhat better results this morning but, again, white balance is way off. It used to be no problem but I guess I’m going to have to set it using the built in Kelvin scale. Here’s straight out of camera. White balanced using a 17% gray card (they’re cheaper than 18% cards. Did you know that? j/k ;-)). I exposed and white balanced on Standard Profile, shot a few seconds, then switched to Cinelike D.
Here’s the Standard:
Here’s Cinelike D:
