Ivan Myles
Forum Replies Created
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It would probably be a good idea to cancel your credit card and get one with a new number.
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Please provide more information regarding your sequence and export settings, the image properties, and any effects applied.
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What encoder and delivery codec are you using? Most of the common options don’t support variable frame rate.
I am not sure viewers would notice the difference between 24fps and 30fps. You can emphasize the look of a handycam through color correction, using a relatively deep focus, and by actually using a consumer camcorder, of course.
Another option is to encode at 60fps and use repeat frames at different rates.
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[Stephen Pickering] “But I had read somewhere that 709 was better than RGB for some reason- but I honestly don’t recall why or where I read that.”
There is reduced risk of color conversion artifacts when the delivery codec is YCC (e.g. H.264, MPG, WMV, Sorenson, etc). Issues are reduced with 10-bpc codecs.
[Stephen Pickering] “AVC-Intra would be .MXF wrapper, right?”
Yes.
[Stephen Pickering] “I would love to know what to use for uncompressed “intermediate” renders (NOT to be archived) as well as a great archive version with high quality but a decent compression so I’m not ending up with ridiculous file sizes.”
In general, 10-bit, all intra-frame, 422 or 444 with light compression or uncompressed:
– ProRes (Mac only with FCP or Compressor installed)
– DNxHD (HD resolutions only)
– AVC All-Intra (HD resolutions only)
– GoPro Cineform
– Uncompressed 4:2:2 YUV/V210
– Uncompressed DPX 4:4:4 (10-bpc YCC in Premiere, more options in AE)PNG and JPEG2000 image sequences are frequently used also, but 8-bit RGB is susceptible to banding (as described above).
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[Lise Rubarth] “I’ve been asked to compress a video file for Pointroll submission to something less than 5mb… I’ve tried changing bitrate, size, framerate, etc. but can’t seem to get the file size down to the required sizes.”
[Lise Rubarth] “—————-
POINTROLL SPECS:
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* Video Codec: H.264 (main profile/level 4.1 suggested but not required)
* Video Bitrate: >5 mbps
* Audio Bitrate: >128 kbps
============”Not sure if you transcribed the specs properly, but two points jump out:
Video bitrate greater than five megabits per second
Your 11.7MB, 30 second file has a bitrate of 3.12 Mbps. If there is a typo in the spec and it should read LESS THAN 5 Mbps, then you already meet the requirement. If the spec is written correctly (i.e. >5 Mbps), then you should maintain the original resolution and increase bitrate rather than looking for ways to further reduce file size.
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DPX 709 does not work properly for me (MOV wrapper); it truncates the colors and then blows them out. Try either DNxHD 10-bit RGB or other codecs like AVC-Intra, uncompressed YUV 10-bit 422, or DPX.
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Yes, it’s the MOV wrapper using CS6 on a Win7-SP1 system.
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[Walter Soyka] “DNxHD does support RGB 444 at 10b, but as Tim mentions, it’s HD-only.”
Does 10-bit DNxHD 4:4:4 work? My attempts to use it resulted in green, stretched video.
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It’s 300 mbps.
Is the 4056MB an estimated file size before encoding or the actual file size after encoding? Actual file size will be less than the estimate when target bitrate is set to a very high number. If the actual file size is too high, increase the key frame distance.
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The AE motion stabilizer is more interactive. You set a target point and it holds the image steady. For a panning shot like yours, you would then add position keyframes to smoothly move the shot. Here is an example; the arc in the thin green line shows how the image was repositioned:
The results are very good, but Motion Stabilizer has a tendency to lose the target point. Progress needs to be monitored (almost frame by frame). When things veer off course you have to stop and try again, or set a new target starting at the last good point. I have used as many as 12 sequential targets to get through 30-40 seconds of footage. The example above required seven trackers.
On the plus side, all of the tracking data is available for editing. Tracking values can be modified. In addition, you can insert position offsets to fix bad tracking points without changing the generated data.
The same approach could potentially be applied with Warp Stabilizer output. Disable auto-scaling and auto-cropping, apply Warp Stabilizer, then use position keyframes to manually smooth the jittery points. It might work better with Warp Stabilizer in AE because composition dimensions can be set larger than the image. (Warp Stabilizer in Premiere requires sequence dimensions to match the footage.) This provides extra image to fill in the edges when repositioning.
