[Ivan Myles]

As a work-around, render the audio to a wav file and the video to an intermediate codec like ProRes, DNxHD, AVC-Intra, Cineform, V210, or DPX. Import the audio and video files to Premiere, insert on a new timeline, and export using the desired delivery codec.

[Ivan Myles]

Once the data is deleted After Effects interpolates motion between the remaining data points. The bad data can be replaced using any of the following methods:

– create Position keyframes to manually move the image from frame-to-frame, or
– re-track the bad data and insert Attach Point Offset values, or
– create a new motion tracker.

The following example discusses how to replace the bad data with a new motion tracker. Consider the case where the bad data is in the middle of a tracker:

|—T1—-|-T2–xxxx——-|—T3—|

You will need to replace both the bad data and good data after the problem area:

|—T1—-|-T2-|—-T4—–|—T3—|

It might require more than one tracker to fix the remainder of T2:

|—T1—-|-T2-|-T4-|–T5–|—T3—|

Be sure to overlap the trackers by one data point. Once the area is retracked, Apply in succession starting with the new tracker T4 up to and including the last tracker T3.

[Ivan Myles]

What version of Premiere are you using? In CS6 a sequence will appear as a green clip when inserted onto a new timeline. Double-clicking the sequence/clip will open the nested timeline with the individual source footage clips.

[Ivan Myles]

If the projects aren’t overly complex import each file into a new project. You can drag sequences from the Project panel into a new timeline and Premiere Pro will treat the sequences as though they were clips of footage.

If the projects are relatively complex and you don’t want to bog down your system, export intermediate files from each project (in entirety or just the clips you want to use). The preferred choice of codec would be a 10-bit, all I-frame, 4:2:2 or 4:4:4 format such as ProRes, DNxHD, AVC-Intra, Cineform, V210, or DPX+WAV.

The difference between 24 and 25fps should not be noticeable; just insert the footage onto a timeline and Premiere will automatically make the required adjustments. Choose the frame rate that makes most sense for your audience, or whichever rate comprises the majority of your footage. Worst case, make two reels — one 24fps and one 25fps.

[Ivan Myles]

Are you specifically concerned about the equipment or the entire end-to-end workflow? The effort starts during production, but if the footage is already shot the next steps include:

– color correction and application of effects during post production
– selection of the export codec
– color reproduction of the playback equipment

The points to address include things like color level, bit depth, scopes, monitor/projector specifications and calibration, ICC color profiles, etc. Please give more information regarding the approach you have taken so far.

[Ivan Myles]

Thank you for the message. I was able to view the video in QTPro after downloading a DVCPRO HD decoder. Why would Premiere/AE (CS6-Win7) have trouble with one file but open six others without issue when all the files appear to be encoded the same?

[Ivan Myles]

If you want to preserve the tracking points before and after the problem region, keep the bad data points and manually enter delta values using the Attach Point Offset. Usually I would try other methods first, but this might be the best solution for you.

This is the order in which I typically address the issue:

– If the problem area is near the beginning of the clip, change the motion tracker attach point and/or search region and start over.
– Use multiple motion trackers through the clip. When a tracking point starts to stray, delete the bad points at the end and start a new tracker on the last good frame from the previous tracker.
– Keep the bad data points and correct their locations using Attach Point Offset keyframes.

The most common approach is the second: use multiple tracking points. As an example, I have a three minute clip with 11 motion trackers in series.

If you do not add new trackers sequentially and the image suddenly jumps from one tracker to the other, select the motion tracker that jumps and click Apply again. This should re-position the first frame at the end point of the previous tracker. Continue through the entire clip and re-Apply each subsequent tracker.

[Ivan Myles]

[greg howell] “I built it in after effects, exported as a quicktime animation lossless .mov at best quality and 16 bit deptth per channel. I then took it into adobe media encoder and used vimeos recommended setting to export as a h.264 mp4 with 2pass VBR.”

Greg, for clarification are you referring to the 16-bit project setting in After Effects? The Animation codec is 8bpc, so your 16bpc project setting is not being utilized upon export.

The issue looks like macro-blocking, which tends to occur when bitrate is too low; the encoder discards detailed information about the background in order to meet the bitrate target. The other potential cause could be color translation from 8-bit RGB to 8-bit YCC.

Instead of creating a QT Animation file, use a Dynamic Link from After Effects to AME or Premiere Pro. If you need an uncompressed intermediate file use AVI/V210 or DPX+WAV with video depth set to 48-bit.

Second, try a high bitrate H.264 export setting:

– Level 5.0 (set this parameter first)
– Profile: High
– 1280×720
– 2-Pass VBR
– Target Bitrate: 168.75 (Max)
– Key Frame Distance: 7

The resulting file should be around 20mbps.

If the issue persists in either the exported file or the Vimeo transcode, try adding some grain/noise or make the background textured.

[Ivan Myles]

[Lewis Costin] “Am I correct in saying that RGB is measured from 0-255 and 709 is 16-235 (a.k.a. YUV)?”

Yes, RGB exports using 0-255 and 709 uses 16-235.

[Lewis Costin] “Is this colour space thing acually changing the video, or simply flagging the file to a ‘correct’ colour space so that media players play it back accurately, even if that file contains illegal values?”

RGB vs 709 is a flag. However, illegal values outside of 0-100 IRE will be clamped/clipped upon export when using either color space. In addition, I have had experiences where 709 sometimes clamps all values outside of ~7.5-91 IRE and then remaps the resulting image to 0-100IRE.

[Ivan Myles]

Increase the Level and change the Profile as required. Max bitrate for HiP@L5.1 is 300mbps. I recommended getting a full list of specs from the station with all their requirements.