Ivan Myles
Forum Replies Created
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It depends on the delivery requirements. How will the exported product be used? Are there any specifications for codec, bitrate, resolution, aspect ratio, media player, etc. for the delivered file?
If there aren’t any export constraints, I recommend 1920×1080 because many media players do not recognize rectangular pixels.
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Based on observation it appears the length of each block is defined by the start and end-points of the clips on the timeline. When any clip begins or ends a new rendering file is started. If all clips start and end on the same frames then there will only be one file.
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Are you referring to previews or exports?
Previews are rendered in blocks. All completed blocks are available and marked by a green line above the timeline. Uncompleted blocks are not available once the rendering is cancelled.
When rendering an output file, the working file(s) is deleted if the job is cancelled.
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[Luke Pearson] “In FCP this info would show up under “compressor” in the browser window. I’m not seeing this info anywhere in PP.”
There is a Compressor field in the Properties window, but it does not always provide info for all codecs.
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Tero makes a great suggestion with respect to applying some grain. The Noise effect in Premiere at 1-2% should work.
Other than converting to black and white, what type of color correction effects are being applied in Resolve? The same results can probably be achieved in Premiere or After Effects without intermediate files.
Try different options to determine the best workflow. There will be additional challenges dealing with chroma sub-sampling and DCT compression in the final delivered file.
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[Ivan Myles] “16-235 vs 0-256 vs 10-bit color”
Edit: 0-255
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[Sam Bright] “I believe I might have not been ticking the Progressive box below the proreshq codec in export… Hypothetically would this create the type of ghosting shift lines shown in above photos?”
Yes. Also, please import the final file into Premiere and view at 100% zoom. We need to rule out any potential issues with the media player.
When you re-render the file, please take screen captures of all the export settings in Premiere Pro. Post here if the problem persists.
[Sam Bright] “If so, then its possibly just that gradient now to be tackled.”
Compare the “Composite Video” and “All Scopes” images in Premiere Pro for one of the frames with banding using:
– the edited sequence viewed in the Program Monitor at 100% zoom
– the exported ProRes intermediate file, imported back into Premiere Pro and viewed in the Source Monitor at 100% zoom
– the color graded ProRes file, imported into Premiere Pro and viewed in the Source Monitor at 100% zoomThere will be black stripes visible on the Y- and RGB curves where the banding occurs because neighboring luminance/color values are omitted. How much banding do you see in the Premiere export file compared to the Premiere timeline and the color-corrected file coming from Resolve?
There are several contributing factors to banding: RGB-YCC conversion, 16-235 vs 0-256 vs 10-bit color, 4:2:0 vs 4:2:2 vs 4:4:4 chroma sampling, and how color correction is applied. Here are some ways to minimize the problem:
– ensure all Premiere Pro effects applied to the clips support 32-bit processing; to be conservative, it would be better if they support RGB and YUV color, too
– use a 10-bit 4:4:4 codec for intermediate files
– export from Premiere Pro with Maximum Bit Depth enabled, 48-bit, and Maximum Render Quality enabled (as discussed previously)
– monitor the luma and RGB scopes during colorization and selectively apply effects to minimize banding
– avoid the need for intermediate files; perform color correction directly in Premiere Pro or in After Effects with dynamic links[Sam Bright] “someone told me if they grade it on resolve and simply give me the xml i can do the export myself straight from premier, as opposed to them grading the proreshq master and then re-exporting another version for me to use.”
This can potentially help and is worth trying.
Ultimately, it will be difficult to completely eliminate banding if the final delivery codec uses 4:2:0 or even 4:2:2 chroma sub-sampling. That said, I understand the desire to minimize the issue through the process.
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[Sam Bright] “I’m now wondering if i should have created a 1920×1080 sequence and resized the red footage as opposed to working in a 4K sequence and just export at 1920×1080….”
1920×1080 would probably be better because of scaling for the digital zoom and resource load on your system. Create a new sequence and test a few of the problem clips.
[Sam Bright] “Editing mode – custom (not sure why it doesnt say RED. Hopefully this doesn’t effect anything)”
“Editing mode” shows the name of the Preset. The name itself doesn’t matter, but the corresponding sequence settings do. It is listed as “Custom” when a setting is changed from the preset.
[Sam Bright] “Video previews – i-frame only mpeg (hope this isn’t wrong or effecting my exports)”
It will not affect output as long as “Use Previews” is disabled in the export settings.
[Sam Bright] “Maximum bit depth or render quality are not selected in [sequence settings]”
That’s OK.
[Sam Bright] “however when i export the project i tick maximum render quality…”
Good. Also enable “Render at Maximum Depth” and select 48 bit (for ProRes).
[Sam Bright] “(Also side note i have noticed some banding issues in a few shots having come back from a grade after exporting to ProResHQ for grader…mabye to do with the max bit depth option not being ticked)”
Quite possibly, and the “48 bit” setting, too. If the previous rendering was performed at 8-bit, the banding could be related to RBG-YCC color conversion. Are there any effects applied to the clips in Premiere? Are the luma and RGB values all between 0-100 IRE on the YC Waveform and RGB Parade scopes?
Questions:
– Do the zoom lines appear with all export codecs or just ProRes?
– Please list or post a screen capture image of Your ProRes export settings including the “Codec Settings” popup. Did you export the ProRes file using 1920×1080 or 1440×1080?
– Are the source, sequence, and export settings all set to Progressive fields and the same frame rate? -
There might be another cause, but it looks like a Field mismatch among the source files, sequence, and export parameters. Please post the settings for each. Are there any commonalities among the clips that work and the ones that don’t? Have you tried exporting a few test clips to see if the issue persists with different codecs?
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[Andrew Johnson] “No, I presumed all of them would be too big to fit on an SD DVD.”
If the file is too big to transfer, try a(n) USB memory stick instead.
[Andrew Johnson] “Is it the case that I need to start high and let DVD Studio Pro compress it to a low setting? “
Yes, it is better to use a low compression intermediate codec if you can’t just rewrap a MPEG2 file without transcoding.
[Andrew Johnson] “Surely the time factor on that’s going to be a killer.”
Actually, H.264 takes longer to encode.
[Ivan Myles] “Have you tried any QuickTime codecs like PNG, JPEG2000, DNxHD, or uncompressed 4:2:2 YUV?”
I just remembered DNxHD is not applicable in this case because it only supports HD resolutions.
