[Ht Davis]

Was this an iPhone video?
Was image stabilize on?
This creates Variable frame rate, and with interlaced material, you can drop fields. Use AME to fix by decompress to file, and turn on Frame Blending in the settings for the transcode. Only other problem I can think of that would cause this.

[Ht Davis]

Cache should be on your internal drive or on a separate drive from everything else, and should be the same place for all caches in adobe for linking to work well. You need a Huge SSD for adobe install. I suggest a fast HDD instead, and set cache internal, with all previews (audio and video in same place) and project files in same place (proxies and project not full prores files only proxies), and keep full formats (AVC or prores) on a fast ESATA, Firewire, USB3 or thunderbolt RAID. This will maximize performance.

Works for me with 2k files on a 2009 mbp with 2.16ghz core2duo, 4gbram, 256mb gfx.

[Ht Davis]

In post, you would duplicate the video, adjust the contrast until that reflection is almost completely faded, and then paint in proper color in that area using AE and rotoscope the adjustment to move along the whole video. Then you would add the fix into your original by using an overlay mask, and applying it only to the affected area (again rotoscope for the mask). That’s the only way I can see. To replace with proper values, you should be able to use photoshop techniques to blend a few pixels on a mask in your dupe video. If you do it correctly, you can probably just do it to a mask in your main comp and rotoscope. Again, this is something you hope you never need, but when you do, you hope it only happens once, and when it happens twice, you’re glad you put in some time to figure it out the first time…

The others had great suggestions for dropping the reflections. Try keeping the lights off to the side far enough so you aren’t standing right in their reflection path.
Example:
If you had two main lights, one on either side, each one on the reflection path of the other, with the beams crossing, then you would want to be behind the area where the beams cross one another. Because the beams would get wider moving toward the subject (the person you’re shooting), moving the lights farther away widens the beam, and, as less of the available beam hits the subject in comparison to the background will result in softer light, and less reflection. Higher lights also fixes this, as the light reflects in all directions but scatters. This will soften going down the subject, but adds sharper highlights on hair and facial structure (wrinkles etc). Moving cameras a little higher and farther at the same time will fix reflections most effectively.

[Ht Davis]

also do disk maintenance. I’ve had some permission and journalling issues cause problems.
similar setup, 2009 MBP.

[Ht Davis]

You’ve got to know flash for this to work properly, and you’d have to do most of this with AE.

Here’s what I’d start with:
place the video in AE, make a comp, place video in Comp, precompose.
For each area they want to highlight and make clickable, you’ll need to have a TRANSPARENT overlay layer object that has the flash script attached, and it will have to conform to shape (rotoscoping here to move the object as the video plays). If there are multiple areas in the same video frame, it gets even more interesting (as in you won’t be sleeping much for the next couple of weeks). Since they want each of these to actually show a hyperlink, you may want to build the object into it’s own comp first, add the hyperlink to its initial shape, add that all to your primary comp and rotoscope. Export\link to Flash encoder, and set the actions of each of those layers to open a page when clicked.

Premiere only has the Flash MARKER, which will allow you to open a webpage, but not with a mouseover.

[Ht Davis]

I usually start with prores, end with prores. Start big, end big. If you have chapters etc, you’ll want them accessible for your DVD… …so…

My workflow:
Start with prores for blu-ray, make edits. Export to prores LT or full 422. Use compressor to compress down to both blu-ray AVCHD and dvd mpg2, and output an audio for each as well, tagged with the disc format in the name. If the MPG2 is too large, 1 more set of workflow… …Otherwise just send premiere sequence to encore project make any common info, save, save as and make a second copy of the project. Build blu-ray in one project, dvd in the other, and set the transcodes (Locate Transcode) to the files from compressor (with a correct file type, you will be asked where the audio file is in a second dialogue). Build disc image for each, drop onto TOAST and burn one. Place into duplicator… …burn 50 |P

[Ht Davis]

Did you try running any maintenance on the drive first? Sometimes a simple permissions or journalling issue.

[Ht Davis]

Short Version:
Yes… …Well Maybe…

If all the video matches FPS and field order of the sequence, you won’t have to render to play it straight through in the sequence.

My Workflow:
Get initial files from CLIENT (card or other media with the camera files; I disk image all cards to start with). I go to AME and output 2 files of each video, one full decompress or LT prores, and one proxy (both then have extremely high quality and I can output both with 1 job\2outputs in AME). Then I load the full format into premiere, sequence it, then relink to the proxy, interpret to the size of the sequence if the res is lower (I rarely drop res, but for 4k, I drop to 1080 and preview at 1080). Occaisionally I have to render out for playback, but rarely. With all of the proxies, I usually get okay playback performance with multi camera up to 5 cams. I do a lot of editing on my mobile…

My setup:
mobile is a macbook pro (2009) with mavericks, 2xhdd (removed cddrive) each at 1tb, 4gb ram, 2.16ghz core2 duo and geforce 8600m 256mb gfx

imac 21 or 27 inch i5 early 2015 all in one, 1tbhdd, graphics of 1gb.

Okay,I lied… …I do all my main edits on my mobile… I’m saving up for a tower either full mac or mackintosh.
I use compressor for compressing to 264 and batch it out. It actually gets better compression even when I only use my mobile and not the iMac.
Make sure you use the fastest drive interface for your machine (i.e., put full prores on a raid on thunderbolt or usb3, cache on internal, previews on thunderbolt or usb3 keeping audio an video together). I use esata hub with it’s own expresscard for prores full and keep proxies on a disk image with all the other working files (previews etc) either internal or on a firewire RAID. I keep an image backup of the RAID drives on an esata external with 4tb drive. It gets hot, but it doesn’t slow down. The mobile is all mine, but the other is a family machine as well, and I can share compressor batches, but I don’t dare tie it up for work… …the heavens and the wife wouldn’t allow.

[Ht Davis]

Also, FCP actually has an AUDIO CORRECT in preferences. It will automatically adjust audio when imported. just found it myself. Turned it off and got same levels in both apps.

[Ht Davis]

Go to the effect controls. Do you see the A and B boxes? Those are clip A and Clip B. You move from one to the other in a pre-built effect. If we are talking no opacity changes (no fading out or fading between on video), then…
A few questions:
do you want both clips to be fully in the screen (seeing both clips in their own corners and stop there a moment to play them both; black areas will be showing with only 2 and you can’t usually pull in more with prebuilt effects)?
Or are you going partial screen on the videos (i.e. several videos from different corners coming together; more than 2)?
Are you talking split screen (where no black is present but both videos are on the screen left\right or top\bottom)?

You will need to edit this on your own by setting keys and using them to move the video areas for each clip to a position in the frame. You’ll need a pen and paper or a printed screen grab of the effects controls for position and motion at the start, then you’ll need to evaluate those values for where you want the videos to be in the frame. You’ll need to do this separately for each clip, and they will need to be on separate video tracks (i.e., no transition). This goes for situation 3 as well, and you’ll have to have each clip you want on the screen on a separate track. And the ones that push each other over (bump out of the way etc) will have to overlap (i.e., they will be on separate tracks for the same frames). The steps are below:
on clip 1: Key the spot you want the motion of clip 1 to start, make sure you have a screen grab of the initial values, you’ll want these for later (place a key frame for both adjustment and zoom in the same spot), write down the time code as well (do this for each key). Play through to where you want the videos to “Pause” or hold still in the frame, and place a key here for position and zoom. Play through to where you want the effect to continue motion, stop, place a key here (for each, same as before), and play through to where you want the first video to be off screen completely. Key here as before, but add a key for opacity. Move 3 frames forward Key here for opacity only. (5 keys total, keys meaning the keyed frame) You should have noted the keyed positions in timecode.
—-For key 1, leave it alone.
—-For key 2, adjust position (both x and y), Zoom, and screen grab or write down the values, and you can adjust using the mouse by placing over the numbers, click hold dragging left or right, and watching the monitor for the movement. You will have to move it
—-For key 3, match key 2 settings
—-For key 4, Adjust position until offscreen completely, with zoom to full (100%)
—-For key 5, Adjust opacity to 0 and zoom to full, leave position alone
Move 5 frames ahead, place an edit mark, and place another edit mark 2s before the video one track comes back in, you can delete the video portion here to save on preview output data and it shows you where the clip exits focus.
Repeat this for clip 2. You can even adjust this so more clips can end up on screen, and then you can have the exit motion pull up the clip you want to bring in to full focus. You can save the settings as an effect as well. Open a new sequence, set an in and out point to create a clipping 9 seconds long, nest that in a new sequence (will act as a clip). Now go to the 2s mark in the clip, place key 1, and place other keys with 1s between them, leaving 2s at the end of the clip. Remove all other settings from the effect controls, and then save the effect as a preset. You can adjust the length of the preset by moving the keys to where they need to be when you apply it. If you want a multipurpose preset, you could have 2 sets of each effect control, then turn off the one you don’t want when you apply it, and then move the keys.