Ivan Myles
Forum Replies Created
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AME has trouble with rescaled video. Please refer to the following thread for more information:
Major Export/Encoding Discrepancies Revealed! Must Read…
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Given the level of investment in the system, I recommend replacing the HDD with a 480GB or 960GB SSD from Crucial/Micron, Samsung, or Intel.
Here is a spec summary for NVIDIA graphics cards:
https://en.wikipedia.org/wiki/Comparison_of_Nvidia_graphics_processing_units#GeForce_700M_.287xxM.29_SeriesFillrate and Processing Power are good metrics (IMO) to compare different cards. You also need to make sure TDP fits within the laptop manufacturer’s specs.
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AME can process multiple output files in parallel rather than sequentially. Import the AE project to the AME queue and set the export parameters for one of the output files. Highlight/select the output file in the AME queue, duplicate it, and then change the export settings for the second file. Upon encoding the files should be processed simultaneously. This technique works well for up to 4-7 files (perhaps more depending on the computer hardware).
If you plan to encode at different points in time, it might be quicker to create the high quality ProRes file first and then make copies from the ProRes version.
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A few different approaches:
– Create a timeline for each song. Cut and paste the source material from the master sequence into each song’s sequence. Edit accordingly. Export each sequence individually.
– Create a timeline for each song. Embed the master sequence into each song’s sequence. Edit accordingly. Export each sequence individually.
– In the master sequence add tracks for titles, adjustment layers, and audio sub-mixes. Insert titles/fades as desired. It might also be helpful to add markers between the songs. Reposition the work area above each song and export from the master sequence.
I would probably use the second (embedded) approach.
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Is your friend using a free Vimeo account with a 500MB/week limit, or a paid account that allows larger files? What is the desired resolution of the uploaded video?
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You could create an audio submix track, route the four tracks to the submix track (in the Audio Mixer panel), and then apply the transition to the submix or keyframe the volume of the submix as required.
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Common choices would be 10+ bpc codecs with 4:2:2 or 4:4:4 chroma sub-sampling such as ProRes, DNxHD, AVC-Intra, or GoPro Cineform. Also consider uncompressed DPX if ample storage space is available.
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Once the master is created, you can save time by encoding all the compressed files concurrently. Add the master file to the AME queue once, then duplicate it and adjust the export settings for each output file.
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Right-click on the keyframes and check that they are set to Linear and not Bezier or Continuous Bezier.
For a visual representation, expand the clips in the timeline and set the display option to Motion > Scale.
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I would apply Fast Color Corrector.
Try Three Way Color Corrector if you want different settings for highlights, shadows, and mid-points. The challenge is making sure there aren’t any artifacts at the boundaries.
Here are some tutorials:
Premiere Pro CS6 Techniques: 51 Color FIVE: Color Cast
Color Correction 2: Primary Colour Correction
