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Ericbowen
July 11, 2013 at 11:15 pm in reply to: RED Audio – Plays in REDCINEX, not in Premiere

Thank you for the heads up.

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 11:05 pm in reply to: RED Audio – Plays in REDCINEX, not in Premiere

That is true provided the meta data is read correctly by the media browser/file importer. If that isn’t then the audio files wont conform correctly which is what you are suggesting. That is why I asked if all of the media directories were moved over.

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 10:45 pm in reply to: RED Audio – Plays in REDCINEX, not in Premiere

Did you copy over the entire folder structure for that Red media?

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 10:14 pm in reply to: Premiere CS5 – Trouble recording audio

Go under Help in Premiere and select update. Then see if there are updates.

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 9:49 pm in reply to: Converting from .MOV to ProRes 422?

Also pages like this seem to state that the DCT processing creates the Mpeg Iframe for DVCPro HD. Is that accurate? Is that the same with other DCT processed codecs?

https://broadcastengineering.com/infrastructure/mpeg-2-and-h264avc

BTW the Pro Res to DNxHD flavor comparisons such as from the Samurai would be the 220. That had a noticeable quality difference editing to clients with DNxHD as the eventual choice. I agree regarding the spacial options of Pro Res but the CinemaDNG Quality is incredible with trancode to Cineform near completely marginal in differential.

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 8:58 pm in reply to: Premiere CS5 – Trouble recording audio

Do you have the 5.0.3 update?

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 7:00 pm in reply to: Converting from .MOV to ProRes 422?

Thank you for the correction and info. Checking it out now. I am interested in your DNxHD comparison though. Results clients and I have seen both with using differential in AE and Acquisition devices such as the Samurai show far better quality when editing with DNxHD over Pro Res. I know DNxHD is Open Jpeg based which is where the industry is moving at this point with 2K and greater. Why do you see Pro Res holding up better?

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 5:49 pm in reply to: PrPro CS6 on an SAN

San Volume Identity means Drive letter in Windows or Mounted volume name in OSX. What OS are you running? Move the Media cache files to the SAN volume if that is where the project media directory is.

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 4:56 pm in reply to: Converting from .MOV to ProRes 422?

Cineform is a Wavelet based codec while Pro Res is Mpeg2 based which uses block based compression. That in itself changes the data results when adding images or changing color data.

You can also see features such as what Cineform brings to the table different than your standard 4 2 2 codecs below. I also included Adobe’s blog regarding color sub sampling. There is also Their First Light utility which is extremely nice for LUT changes.

https://cineform.com/compression-subsystem
https://blogs.adobe.com/VideoRoad/2010/06/color_subsampling_or_what_is_4.html

The Adobe I-frame codec effects Preview but not the original source data which is what is modified by the compositing or color grading. The greater color space and bit info available to modify increases the accuracy of the resulting encoding with out presenting artifacts. That is why the Space of the source media matters and not just the processing.

Eric-ADK
Tech Manager
Ericbowen
July 11, 2013 at 3:54 pm in reply to: Converting from .MOV to ProRes 422?

Converting the H264 files to Cineform would give better quality results with compositing or color grading with the greater color space and subsampling of Cineform. If Cineform is not an option then I would avoid converting to Pro Res unless you require it for editing.

Eric-ADK
Tech Manager

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