Ht Davis
Forum Replies Created
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Just had another thought… I think you can only do a start time move by interpreting footage, by setting the sequence timecode, or by actually tagging the clip in the project panel somehow. But other than that…
Your sequences… …Are they multi cam?
If so, you are going to be doing some serious nesting later anyway, right?
Why not make a sequence for each section of the day, set the starting time code in the sequence settings to that hour you want to start it at, and then work from there? Drag clips onto it, then place them with drag and drop. If you keep the section sequences within the length of your longest clip (round up to the nearest hour or half hour), you should be able to place the clips fully into their sections, and synchronize those if the sections are orderly enough. If it’s helter skelter, skip that idea and check the following.IF you are in CC you can sync clips on an empty sequence using the sound first (Built in and can be done in bins, so you can create bins with sections of the day, align the clips, create a sequence with a different timecode to start–other than 0000–and drop the clips on it and they’ll align, then use that sequence where you want it), working with one section of the day at a time, and then MARK THE CLIPS not the sequence where they match up, and use the comments to note which clips. You can then drag them into the sequence later, drag the first one for that days section where needed, and then place the others where it lines up for audio sync, and you can multi cam that later.
In CS6, use plural eyes to do that sound alignment, working with one section of the day at a time, and then MARK THE CLIPS not the sequence where they match up, and use the comments to note which clips. You can then drag them into the sequence later, drag the first one for that days section where needed, and then place the others where it lines up for audio sync, and you can multi cam that later.
to align each section:
align the main clip to the 0000 or frame 1 (start) timecode of the sequence, sync by sound in plural eyes, then mark that main clip only, using the source monitor and comparing it with the sequence, for where the first frames of the other clips fall. Alternatively, you can create a sequence with that clip, create the markers in that sequence as you play the other sequence in the source monitor, and mark your new sequence where the other clips align their first frame. When you’re ready, you use this sequence, adjust the starting timecode, and let it fall into your main cam setup sequence where it may, and you may have to tell it to go to it’s desired location, but afterward, place the other clips that align in their marked locations (the marks should show up as small dots at bottom of clip icon in sequence), and then replace the now nested sequence with it’s original clip (to allow multicaming without problem). -
DO NOT MATCH SEQUENCE SETTINGS… …EVER… …When going to YOUTUBE. It will match the video as it is rebuilt (bit rate etc, with little compression).
[Eric Strand] “Hi Tommy, this all has to do with bitrate and codecs. Premiere exports your video at a higher bitrate than your DSLR recorded it at, hence the bigger file size.
Here are some video tutorials to help you get started:How Codecs Work: https://vimeo.com/104554788
Understanding Exports: https://vimeo.com/115534648“Close but not quite right yet. The camera didn’t record a low bit rate. It recorded compressed bits where the bit rate would vary greatly, but the quality matched a set standard of retention on blowing up the file again. The compression algorithms in the camera provide for high quality with more frames actually captured. The chroma, Gamma, luminance and color data are all compressed heavily, while the images themselves are less so. The images are actually compressed by storing the full versions of several specific frames, but the values are then processed through drop in Luma, chroma and all that and stored that way in the file. Only the changes in the images between the important frames are stored beyond those frames, and again the luma etc are all compressed and only larger changes are noted. When played, they are then read as the difference from the cameras base setting, then changes are then read as changes from that value, and the rest of the frames are rebuilt by guessing the values around the changed ones based on the originals.
Youtube compression to H264 will compress the images by change-calculation and motion estimation (much like the above), but it will not drop the color balance information down. This usually accounts for much of the difference, but also, remember to set your bit rate to around 10mbps (or 10,000 kb data rate), also the audio should be compressed to 48k16bit for smooth playback over net speeds. 10mb for a target, 12 max. This is standard bandwidth allocation for entry-level broadband to keep up with. People with slower speeds will buffer several seconds before playback, and may get some buffering, but it will be playable. Your bit rate is not a measure of quality, as most would have you believe. It’s a measure of compression; lossy compression, of course, but not as direct a quality measure as they would have you believe. If you compress something that’s already compressed, you’re calculating your new compression based on a scrambled mix of the data being roughly blown up and recalculated, and very slowly… …along with very poorly. But if you compress something that’s already blown up, you aren’t roughly blowing it up, you’ve blown it up full freight; and the algorithm is much more accurate in compressing that without losing quality. Bit rate doesn’t measure quality. It measures the strength of the compression, and (roughly) how fast to move the data you end up with. If you set a variable bit rate, and set the max to 10 or 12, the target to 8-10 and the bottom to 4, you should be able to make a YouTube capable file that really rocks. BUT… …I suggest you follow the workflow below to get a better idea of how to retain quality. I suggest you keep a copy of this somewhere in case you want to go over it again, too.Bit rate, Compression, And Quality:
Most people prefer to retain max quality, while getting the smallest file possible, when compressing a video. If this is you… Consider the following: Compression will take a file and calculate how much data it has to drop (dump; delete; forget; goodbye little bitsies) to match your data rate settings; that is, it will make 1second of video take that much bandwidth by calculating where and how to drop or squeeze data to get within a certain threshold of the data rate (bit rate) you set. If you are already compressed, it uses a baseline algorithm (a very rudimentary one that’s low quality) to blow up and calculate the frames. The existing compression also slows the whole operation because it takes more steps to complete. IF there are edits, it probably has to CREATE frames and blend frames as well, which is also more difficult with files that are already compressed.
Why not start by blowing it up to an AVC-intra first in media encoder. This will put your color data back in, and blow up the frames. Start with AVCintra100, and you can add a second job for simultaneous render, do an AVCIntra50 (this is a proxy format, should have about half the size of 100 and will edit nicely). If you set your previews as iframe only mpeg, you can then tick use previews when you export.
First, relink to your AVCIntra 50:
Go to your project panel, right click your clips and select make offline. Then right click them again and select relink. Pick the AVCintra 50 proxy file. Check your edits. Render out previews by Rendering Work area etc if you wish to check the quality of your edits. Finally, select the clips in the project panel, right click, select make offline, right click again to get a menu and select relink. Select the AVCintra-100 file. Export the sequence to an AVCintra-50 or 100 file (dealers choice here, the 50 isn’t as high quality as the 100, but gets really close and does a little compression). When that’s done, drop that file into AME and export it to a youtube compatible with the following settings:
Variable Bit Rate—min 4to5, target 10to12, max 10to12. These youtube settings rock with 1080 or 720 video. If you do 2k or above, bump each of those up by 4, and you should do fine for quality, as long as you are working from a full format file and not a compressed one. DO NOT MATCH SEQUENCE SETTINGS… …EVER… …When going to YOUTUBE. If you’re apple-centric and have Compressor, I suggest using Compressor, as the H264 algorithm does a better job of fitting to your bit rate settings while keeping quality. I also suggest using Pro-res LT and proxy for smaller project videos (LT is a mid level between proxy and full-format-every-frame, in pro-res, and you can’t tell any difference between LT and full at 1080 sizes in the 422 codec; 444 can do 4k high color).Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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Open the audio effects for each track (effects controls should have a few shell mods already there for audio). You can go to the Pan controls and set the directional of any STANDARD track to right\left. Move to right, you get right, move to left you go left (it’s a slider). This control needs to have Keys, so, key the first frame, pan it. Do this for each track for where you want it to be.
Alternatively, send them each to audition, save a file for each track, and then edit the entirety in a multitrack session using copy paste to place them each into their own track in the session. Now use the pan control and balance left right for each track to get your desired audio mix, save the session, then, mix it down. Save the file to a 48k 16bit file and pray it’s less than 4gb. If not, reopen the session, save it as a .MOV or similar sound only movie file in full format. Import that file into your project in premiere, and lay it as a new track, then silence the others by turning them off. Play it and make sure it sounds right. You should be done. This is a way to balance a little more directly, and get it as perfect as possible. Using the premiere pan is a one at a time job, and is harder to solo and then preview the effect on the total audio… It’s just easier to do in audition. However, premier likes PCM or WAV and WAV is limited to 4gb, while PCM wrapped in a transport or movie container doesn’t really have a file size limit.
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Again, you kind of missed the point of the limit discussion…
They talk about pixel limits… Not the same as file size. Two images of the same pixel dimensions can have drastically different file sizes for a number of reasons. IF they are of different subjects, the amount of color info will be different. IF they are photos of the same subject but exposed differently, the same is true. If one is black and white (greyscale) and the other color, the representation will be different. If the bit width of color values is different (8bit vs 16), etc, they will take up different amounts of space on a hard drive. Check to make sure that the space requirement for the PNG matches the standard premiere can handle.And remember, Premiere handles a PNG like a title. If it’s an image, it has trouble. IF you put it in AE first, it will see video information with an alpha channel, instead of a title image.
Final cut sees all as video first. You have to make your own titles as video, not as images. Premiere can use exports from illustrator as titles; great for making many titles or subs quickly. I use to make a HUD for a choir group. The Maestro uses it to keep pace with video pieces he plays in the background during his performances (and he has to time just perfectly so the math is crazy sometimes when the piece changes from ¾ to 5/4 midway).
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Media browser is great for importing the clips initially. But moving between systems, the files may reside on a drive that shows with a different name in the system. On MAC, you are always shown your default folder first (not the folder where the files are, a default folder in your system somewhere, perhaps the most accessed folder or the most recent accessed one). I believe Windows starts with documents or the default as well. When you relink, the project doesn’t assume they are in the same exact pathway in the system. It allows you to specify the pathway. When you used media browser before, you probably replaced the other files with a new linked set (they are seen as separate files, not the original ones you used), and now the sequence is looking for the original linked set from your project panel. In short, you broke your sequence. You can relink the media using relink on each clip and then pointing to that clip in the file system (you have to find them). Do not use media browser when moving between systems. Use relink media. Media browser will find NEW files for import into your project. Relink will use your system file manager to allow you to search for and find the files to relink to the entry in your project panel. When you used media browser before, you simply imported new entries, or you had it “replace Footage” or something like that. It’s great for bringing in new files, not for re-attaching the pathways. I can’t say it enough. The behavior is perfectly normal.
Remember:
Windows sees drives by a letter and then a pathway.
Mac sees by /Volumes/drivename/Pathway or by a unix style /dev/mnt/sda/d0s1/pathway styled path.Moving between them requires relinking media, and after effects comps etc. It in no way involves the media browser…
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Hey there…
The old files work because they were on their own. If you try to pull them from a disk image or file tree that was backed up, you may have a problem. MXF and MTS… …They are usually wrapped up in a folder that is seen as a bundle. You can pull them out and drop them into premiere, but they have to be free of your camera completely.
Alternatively, if you can use prelude, you should be able to break down the folder structure correctly, then send the timelines from prelude to premiere, or to AME for recoding to a full format like pro-res or AVC intra. These are EDIT formats. -
You can stretch or pinch audio but it will create artifacts in premiere (sometimes, even when you tell it to retain audio fidelity by checking the box in the speed\duration box). You’ll have to edit the audio in Audition if you want to clean it up. You might dupe your sequence, then do your thing with your clip, and in the dupe, unlink audio, then send to audition, then retime the audio in audition, and correct phase. If you pinch it, you are putting more samples in the ending duration, but if you are still playing at the same rate, not all of them will play, and some will be snapped together, playing at the same time. If you stretch it, you are cutting the samples down, but playing back at the same sample rate, where some areas will have no sample, and some samples may be “adjusted” slightly to be in-line with playback. This will push them out of phase. You’ll need to retime and phase correct an audio file in audition and then apply it over the top of your trouble audio.
SMOKE probably did the Audio Phase Correction for you, back then.
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Just another note:
You can separate your audio and video preview files across devices. You can set up several RAID drives, and have one hold video previews while the other holds audio previews.It sounds like you are rendering an entire work area. DO you need to see the entirety of the work area rendered, or just a few small sections? IF so, you can use the top slider to shorten the render operation to only the areas that need to be rendered for viewing (like where you place an effect). IF you render the entire work area, you will take up a lot of space quickly and unnecessarily. Make that top slider fit just a few frames around the outside of each area you’ve got to render out (i.e., where a camera changes, cuts, or transitions; or where audio changes, etc). Do this only every 2 or three edits, and only around the edited areas unless you want to check output. When checking output, EXPORT the project, don’t render it.
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When you double click, do you edit the Markers tab or the Source tab? When you do this the way you describe you are typically editing a clip MARKER, not the entry of the clip itself. Not the clip itself.
Start with a fresh sequence. For each clip, first type in your start timecode in the sequence box where it shows the current timecode. mark the in (no need to mark out), and then go to project panel, select the clip, right click it and select “Insert”. It will ask how. You should be able to simply ripple edit and insert it right where you need it. Finally, make sure you only have one track selected for this, the track where you want the video to be placed, otherwise it’s a toss up for where it will go.
You don’t typically set the starting timecode in the sequence. There’s a way to do that per clip, but it happens in the project panel, not in the sequence; and it’s clip only–it will show you the starting point you select as the staring timecode when played in the source monitor, but nowhere else.
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Cache:
This goes back to an old technology called PAGING. Adobe stores some extra info (basically cloned from your RAM) for quickly copying back to ram and running. On MAC’s this needs specific permissions to be able to run, and I believe on PC as well, with Win7 and 8. It’s a logical assumption since your memory holds everything you are running, including some of your operating system. Set it to a location on your internal, main SSD or HDD by going to your premiere preferences, under media. Do not set it to save a copy next to originals… …this doubles the amount of space you need, and can fail when on an external drive. Under that, you should see the setting for media cache database. Make sure it is on your main drive, in a location you have access to (I chose Documents folder, so I could empty it manually if necessary). Click ok.
Previews:
Now… …In your sequence settings, you need to select where to put your preview files. I keep them with my project file on a “Disk Image”. *(This is a binary file that a system will see like a Hard drive. I can create it anywhere, and format it just like a hard drive or a CD\DVD, etc. I use the Mac, so I go to Applications, utilities, disk utility. This application will allow me to select the icon for “New Image” and save a blank “Image” anywhere. I suggest you look this up and research a little, then try using a “Sparse” image. I’d like to talk more about that with you, but maybe we can do that by email.)* But you can save your previews anywhere you have the space, so long as you keep them together (they are split into stream transport if you set your preview to the standard i-frame only mpeg); they are played back best that way.CPU\GPU:
Check your preferences for OPENCL and CUDA. Most often, this will be detected for you, but sometimes it won’t. Check the specs of your system again. Do you have a separate graphics card or is it built in to the system? IF so, OpenCL will be the way to go. IF you are on Windows, and have a newer add-on card for graphics, you may have an advanced processing technology called CUDA. It’s super fast, and very powerful. If on windows, turn it on in your system, and in your premiere preferences under graphics. On a mac, turn it off. Macs currently have trouble with it for the following reason:
When I spoke of graphics before, I was trying to point out that newer systems work differently to maximize the power across both your main processor (intel core 2, i5, etc) and a discreet graphics card (an added graphics processing unit with it’s own processor; e.g., nvidia, Radeon, ATI) at the same time. Older systems would use one or the other, limiting the power you had to process. Older systems would pass the command to the processor, which would pass it back with a list of what to do through the driver for the graphics card, to the memory and processor of the card, where it would work, then pass it back through the processor to the memory and out to the drives. Now it just passes it out to the processor in the same language as the gfx card would get, and the processor decides if the GPU is needed, then fills it when necessary, while processing part of the video itself. Mac computers make use of a Double-buffer in their underlying graphics driver, so it conflicts with CUDA, and many cards are having a problem with it.