[Ivan Myles]

That’s helpful. Thank you.

[Ivan Myles]

Excellent! Thank you.

[Ivan Myles]

Overall performance will be determined by the slowest component in the system. The extra potential performance in other components will not be realized. Look for low-latency memory that matches the maximum frequency supported by the motherboard (i.e. focus on the memory timing numbers).

[Ivan Myles]

[Zach Robbins] “I’m working on a product video and have done all cutting, editing, sharpening, and color correcting in Premiere Pro CS6. Then, I exported from Premiere Pro at full quality, then used Adobe Dynamic Link to create a comp (pulling in the rendered video) in After Effects to do final touchups with masking, grain removal, and adding a custom vignette–which will pull dynamically back to PPro CS6 without having to re-render. However, when I move everything to AE, something is lost in clarity and quality.”

Please clarify if I am interpreting your workflow correctly:

[1] Import source files to Premiere Pro
[2] Edit sequence and add effects
[3] Export an intermediate file “at full quality” from Premiere Pro (Adobe Media Encoder)
[4] Create a composition in After Effects with a dynamic link to the rendered file
[5] Process the intermediate file in After Effects; save as an AE project
[6] Import the AE project into Premiere Pro
[7] Export final file from Premiere Pro (Adobe Media Encoder)

There are a couple of easy things to address within your current workflow. First, use a lossless codec in step [3] if you need to export an intermediate file. Second, set project bit depth in After Effects to 24- or 32-bits.

More importantly, though, the workflow should be simplified. The traditional sequence is from source files to Premiere Pro to After Effects to Adobe Media Encoder. If you want to export from Premiere Pro, use After Effects to pre-process the source files, and then complete the rest of your work in Premiere:

[a] Import source files to After Effects for any clips that require AE processing
[b] Process the source files and save as AE project files
[c] Import the AE projects and other source files to Premiere
[d] Edit and apply additional effects in Premiere
[e] Export the final render from Premiere (Adobe Media Encoder)

[Ivan Myles]

I’m not sure whether transition effects can be changed. However, you can achieve the desired result by varying opacity with bezier keyframes instead of the standard linear curves.

[Ivan Myles]

Thanks for the post, but the video was removed.

[Ivan Myles]

At the bottom of the source monitor there are two graphic buttons for setting the in- and out-points. The buttons are marked with “{” and “}” symbols, respectively.

[Ivan Myles]

Depending on the editing suite, JPG2000 or PNG might also work. A full quality JPG2k is lossless, but needs good hardware to play back in real time.

If using H.264, export with key frame distance set to one (1) frame. It will reduce the risk of potential problems when editing.

[Ivan Myles]

[Tessa Garland] “However it doesn’t look that sharp does reducing the scale alter the quality?”

It can, especially if playing back at a larger resolution (e.g. full screen), but the loss of sharpness may be inherent to the DV conversion. In the export settings, select “Render at Maximum Depth” to improve image quality when down-scaling.

[Tessa Garland] “If I want to make a full size Quicktime file for exhibition should the settings be QuickTime 1920 x 1080, DV Pal widescreen, Progressive, Quality 100.”

To the best of my knowledge DV does not support 1080 resolutions; use DVCPRO HD instead. The choice of 1080p or 1080i will depend on the playback equipment.

[Ivan Myles]

Many media players do not recognize anamorphic aspect ratios. Try viewing the output file in Premiere to check. You might want to export a second version with square pixels (1024×576) for computer/online viewing.