[Ivan Myles]

It looks like bitrate is too low in the encoded file. A few questions:

– When you say “animation file” do you mean a video that includes animation, or are you referring to the QuickTime animation codec (lossless RGB)?
– What export settings were used to create the “Before” video? Please post a screen capture of all the video settings.
– Download the transcoded Vimeo file (“After”). Does it look any better when played locally?
-Analyze the downloaded Vimeo file using MediaTools or similar app. It will tell you all the x264 settings that Vimeo used to transcode the file. What are the average and maximum bitrates, H.264 profile and level, and GOP M and N values of the encoded file?
– How long is the video and what is the frame rate? Alternatively, how many frames are there in total?
– What type of Vimeo account do you have? (i.e. What is your maximum allowed file size?)

If you have an x264 encoder one approach would be to encode a file using the same settings as the transcoded Vimeo file. Another approach is to use an intermediate codec like ProRes or DNxHD if file size is not constrained. Otherwise, try H.264 with as high a bitrate as possible within the file size constraint. I suggest uploading a 1280×720 version to test encoding parameters before working with the 1920×1080 file.

[Ivan Myles]

Simply import the footage at its native 50fps frame rate. When it is inserted into a 25fps sequence Premiere Pro will automatically skip every second frame when playing the clip at 25fps. If you want to slow the clip down to half speed, do any of the following:

– Right-click the file in the Project Panel, select Modify > Interpret Footage, and set frame rate to 25fps; all clips from this file will now default to 25fps at half speed
– Right-click a clip in the timeline, select Speed/Duration…, and set Speed to 50%; this will only change the speed of the selected clip; all other clips from the file will play at the default speed
– In the Motion Effects for a clip, set Speed to 50%; if desired, speed can be ramped up or down using keyframes or the rubber band tool; this will only change the speed of the selected clip; all other clips from the file will play at the default speed

[Ivan Myles]

The best method will depend on your requirements. If file size is a constraint, or you only need to render one or two copies, or you are not archiving a master file, then just render the AE comp in AME as suggested. It takes longer to generate several files this way because the comp needs to be rendered each time before encoding. Therefore, if you plan to encode multiple files at different resolutions or bitrates, it will be faster to generate a master file first and then transcode distribution copies from the master.

Animation may not be the best codec if you plan to encode with H.264. Animation is 8-bpc RGB, which will result in color shifting when converting to 8-bpc 4:2:0 YCC. If the AE comp was created in 8-bpc RGB, then don’t worry about it. But if the AE project is 16 or 32 bpc, then a 10-bit ProRes, DNxHD, AVC-Intra, Cineform, or uncompressed YUV, V210, or DPX would be a better format for an intermediate/master file.

[Ivan Myles]

It is better to use Adobe Media Encoder (AME) with 2-Pass VBR if you would like to encode with H.264. Open AME, drag the After Effects project into the queue, and click on the orange text under Format or Preset to enter your encoder settings.

Under Format select H.264. For maximum compatibility set Profile to Baseline, and under the Multiplexer tab set Stream Compatibility to iPod.

Other typical settings would be as follows:

– Level 4.1 for 30fps or fewer at 1920×1080
– Level 4.2 for 60fps or fewer at 1920×1080
– Bitrate will depend on your delivery requirements; if you need to go higher than 50 mbps set Level to 5.0 (135,000 max) or 5.1 (240 mbps max)
– Default key frame distance is 3x frame rate

For better compression use Main or High Profile and set Stream Compatibility to Standard.

Alteratively, to create a MOV file set Format to QuickTime and select the H.264 codec.

[Ivan Myles]

Another option is the Levels effect. Regardless of which method is used, it is a good idea to increase project bit depth to 16 or 32 bpc so that the YCC color will be converted to RGB more smoothly.

[Ivan Myles]

180GB or 240GB is enough for a system drive, but 128GB might not be. A 960GB SSD would be for project files if you require the space and need to edit on the go. A platter drive is sufficient if it’s internal and has a motion detector. Going back to the original post, an internal or eSATA or USB 3.0 HDD will be faster than your USB 2.0 connection but slower than an SSD.

[Ivan Myles]

[Mike Weber] “I actually miss the breakout/floating Multicam window from CS6.”

Has this feature been removed in the new CC version? NOOOOOOOOO!!!!!!!

An alternative approach is to enable a second monitor for simultaneous full-screen viewing.

[Ivan Myles]

A simple place to start would be connecting your external drive(s) via the M4700’s USB 3.0 or eSATA ports. Data transfer speeds will increase from about 25 MB/s on USB 2.0 to whatever the drive can support.

If you need to be mobile, a SSD will withstand motion better than a platter drive. ~500GB or even 960GB from Intel, Samsung, or Crucial will provide speed, capacity, and reliability.

[Ivan Myles]

Yes, interpreting 25fps footage as 30fps will cause it to play faster. There should not be any technical problems, but it might create a perceptual issue depending on the nature of the footage. For example, increasing the frame rate might look odd if the clip includes people or high motion. For a low motion or establishing shot, though, it will probably look fine.

Other options include repeating, blending, or interpolating new frames.

[Ivan Myles]

Have you tried frame blending?