[Ht Davis]

IF you are talking live capture (on the fly right?)…
the file should be linked by its location (where it is being stored), so you are just calling that up every time… Sounds like a connection interface issue. Your ram should be at least 24gb-32gb, and the drive should be a NAS linked by 10gbps fiber for this kind of work, not to mention at least a quad core (better off with an 8core) processor and a CUDA capable graphics card with 2gb or greater (4gb has been seen once or twice) memory on the card. Your system will make use of it all.
Try setting it to 10sec.
Try an LT or even a Proxy prores. They have a lower data rate and that may be part of the issue.

Bottom line, you need your system to match the speed of the live connections. With smaller video files, this was easy. But with larger video in HD, 2k, 4k, you really need to be able to move your ram a lot faster, so make sure you’ve got the fastest for your bus.

Also, best to work your main drive as a SAS\SATA raid set, and run the program from there, with cache placed on that drive. It’s throughput alone will boost your memory allocation speeds. Because that Cache has to be rebuilt every few seconds, it will be accessed a lot, and you will burn through drives so a RAID5 setup or at least having a differential backup to an external is necessary to recover the system.

Good night

[Ht Davis]

anytime. Glad I could help.

Most of my projects are non profit. I work with a Master Chorale group that has several sections, including a complete set of youth sections. I’ve been going to my own little school with the audio for 2 years (studying on my own and working with audition since cs5). I’ve found that it really helps in the video workflow as well.

I often record straight through with my mac to audition in 96k at 32bit float resolutions. This produces huge files of course, but when mixed down, the voices really do sound much the same, just slightly closer together for delay and pitch.
FYI. I was really quite def until I was 14. My right side still sucks, but they did rip the left one open and tinker a bit. Working with this group has been an awesome experience, especially with how the emotion or articulation of a note can really effect you.

If you like my tips, try checking out my Facebook group for my updates and notes on projects. Most are amateurish at best, but I also throw in some cool photos from time to time. Check out “the modern AV club” or HT Davis.

[Ht Davis]

As an aside to my last… …Conventional hdd’s have a bandwidth max of 6gb\s, but that’s in a perfect spin world (doesn’t exist). Most actually get about 30-40 with a single operation requesting info. SSD’s get more like 0.5gbps though they are rated much higher with straight line reads. The problem with LT while editing is that it needs 50-75mbps. You’re only getting half that, and probably less if you store other info on the drives. Try an esata raid. You might even do okay with a usb based raid (max of 480mbps but you’d be able to play the video back). Try it with a RAID with three or four drives, and the drives don’t need to be big, just big enough to make the space you’d need. I’d go with prores proxy while editing and prores LT on output only. Use the offline and relink procedure to swap files in project panel. The renders will come out perfect if you export your media to prores LT for your output step and then compress that.

[Ht Davis]

To clarify:
In after effects you’ll have to create a comp of exactly half the frames of your video of the projector. Then you take the blow up, place it into the new comp. It will ask how to deal with it. Try dropping first. If you can then take that comp and place into another at the correct frame rate and blend it. If the dropping doesn’t work, try using a blend of the two sets of frames and do the same with a nested comp. Preview that. Then you can render or place in premiere on a new track and place it over the projector screen wherer it matches up. Now it will play on top of your flicker, and will, effectively, overwrite it while playing back. If you do an export with sound, you should even be able to sync it up by that, or by the timecode of your marks in your other sequence. That way you’re perfectly in sync.

[Ht Davis]

Not at all on the posting thing… …HT Davis. That’s me.

I’ve run into this problem a few times lately with a cheap CANON HFr50. It keeps defaulting to putting that setting on, even after I turn it off. I’ll be ref lashing the firmware when I can get another external to run parallels on. Burned up my last one running a decrypt test for a virus repair on a friend’s machine… …didn’t work to well…

[Ht Davis]

in CS6 there was no flattening, you just disabled the multi cam. In CC they allowed you to flatten, which means it is locked.

You can select the rest and copy to a new sequence, then re-nest your multi cam in a separate sequence, and cut out the piece you need, copy that to your new sequence with all the rest, and then re-enable the multi cam on it. Only way I know to do it.

[Ht Davis]

I work on a macbook pro (2008) with 4gb ram (maxed out) 2.16ghz intel core2duo, 256mb gfx. All 1080 video is heavy. HEAVY can be ANY video that your system has trouble with in the editing workflow. PROXY reduces the requirements of the playback so you can edit and render without so many snags. You use full on formats at the END to ensure an output quality, then you can compress and all that to your hearts content. What about that doesn’t fit?

[Ht Davis]

JPG is a compressed image. The format you are exporting is compressed as well. You tend to lose quality a lot faster with these encodes.

My steps for success:
Save those images as TIFF without compression (select none in photoshop), and blow up the clips to AVCintra50 or pro-res-proxy sizes. This will boost quality in the edits, and you’ll have full image formatting for your stills. Now… …When you export, use a full format first. This will ensure fidelity of quality in the output (use AVCintra50\100 or prores lt\proxy). Now compress it down using the h264 youtube and set the following attributes:

Bitrate= VBR 2pass
min=4
Target =8
max=10-12 (dealers choice here)

Now your data rate has less to do with quality and more to do with file size in the compression, as well as the speed at which the data will move when playing it back.

Going from compression to compression, you end up in trouble. If you use the standard adobe presets you can have a problem. Setting bit rate from 5-10 matches internet speeds. Setting a variable rate allows it to compress some areas more, saving space, and some areas less, retaining quality. It makes for great playback. Aim for a rough target of 8-10mbps for 1080 and 5-10 for 720 in h264 for great results.

[Ht Davis]

How did you clear the cards? Did you use your computer? when you finish with these current videos, remember:
Format as FAT on computer. Put in camera. Format in camera. Will probably be FAT12.
I’ve gotten away with ExFAT on some older cameras, and some newer, but not all. It has a huge file size limit, and tends to be easily read. You can only format this from your computer if your system supports it though.

I also image every card before importing anything from it. That way I can clear the card without that “Oh Crap” moment. I then RAR split it if necessary and burn the pieces to discs for an archive. I always have a copy of the card when I need it. Get it? Mac makes that easy. You can find some utilities for windows that are pretty easy to use and many are freeware. You’ll have to collect them though.

[Ht Davis]

You have fallen into the OIS trap.

This type of image stabilizer is on by default on some cameras and will either speed up the frame rate or slow it down to stabilize an image. If you are on a rig or tripod, turn this off and make damned sure you check that before shooting. After shooting, if you are experiencing frame rate problems, the missing frames will be marked and the frame rate change will be as well, but only in the bitstream, not in the header. SO…. …You’ll have to transcode to a useable format. Find the base frame rate for the cameras, looks like a 25p on the 24.03, and a 24p setting on the 23.xx (25 frames and 23.9x in media encoder). You should transcode them with “USE FRAME BLENDING” so that the frame rates are filled in. This will fix any problems with the videos themselves.

Next, you’ll have to import those into premiere. I also advise you to right click the clip in project panel and Interpret the Footage to your sequence frame rate. This will flag it and play it as if at that frame rate, but conforming it to seconds instead of frames. WARNING: you may drop some frames (though not many, and usually not enough to degrade the quality unless in areas of high motion).