Ivan Myles
Forum Replies Created
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DPX is better than TIFF, especially if you are going between RGB and Y’CbCr (H.264, x.264, H.265, MPEG2, WMV, Flash). However, if your editing workflow is 8-bit RGB there is no harm in delivering TIFF files for grading (although JPEG2000 would produce smaller files). The more common choice would be 10-bit, all-intra, 422/444 codecs such as ProRes, DNxHD, AVC-I, or Cineform which provide a good tradeoff between image quality and file size.
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It would be more effective to download the videos rather than trying to capture. The bigger question is whether the client owns any of the rights to the content. It might be more appropriate to license the footage and get high quality copies.
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Consider increasing the export bitrate settings to Target=20, Peak=30. The end result still might not be satisfactory because YouTube re-encodes to a low bit rate.
Use a lightly compressed, 10-bit, all-intra codec for intermediate files rather than uncompressed (e.g. ProRes, DNxHD, AVC-I, Cineform).
For more information please search these forums for “Ivan Myles YouTube” and “Ivan Myles intermediate”.
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It might be helpful to create and animate a garbage matte around the area, and then key out the hotspot colors.
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“Trim the first frame” means edit the clip to start on the second frame.
“Slide the clip to frame zero” means move the edited clip to the beginning of the sequence (Frame 0).
The following is a more detailed explanation. Consider a 50fps clip that is one hundred frames in length. In a 50fps sequence the frames will be displayed as follows:
F00 F01 F02 F03 F04 F05 … F96 F97 F98 F99
When inserted into a 25fps sequence, Premiere Pro automatically skips every other frame:
F00 F02 F04 … F96 F98
We want to display all the footage from the 50fps clip without skipping any frames. Here are the instructions from my previous post:
1) Create two 50fps sequences of the clip (A and B)
A: F00 F01 F02 F03 F04 F05 … F96 F97 F98 F99
B: F00 F01 F02 F03 F04 F05 … F96 F97 F98 F99
2) In one of the 50fps sequences (B), trim the first frame…
A: F00 F01 F02 F03 F04 F05 … F96 F97 F98 F99
B: F01 F02 F03 F04 F05 … F96 F97 F98 F99
[e.g. In Sequence B edit the clip to start on the second frame (F01)]
2) … and slide the clip to frame zero
A: F00 F01 F02 F03 F04 F05 … F96 F97 F98 F99
B: F01 F02 F03 F04 F05 … F96 F97 F98 F99
[e.g. Drag the clip in Sequence B and move it one frame to the left]
3) Create a 25fps sequence and nest the two 50fps sequences above each over
Track2: F00 F02 F04 … F96 F98
Track1: F01 F03 F05 … F97 F99[Notice that every other frame is removed when the 50fps sequences are inserted into the 25fps timeline]
4) Reduce the opacity of the upper sequence so that both clips appear
Now the final output will have two frames displayed at the same time: F00+F01, F02+F03, F04+F05, … F96+F97, F98+F99.
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As a final check, try downloading the YouTube file from the Video Manager page (on the YouTube site) and compare it to the AME H.264 file using the scopes in Premiere Pro.
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It would seem the problem is with the YouTube transcode or the individual media players. QuickTime has known issues. You noticed the same problem with VLC? Have you tried uploading to Vimeo?
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[Greg Sage] “Not sure what the scopes are you’re referring to, but I’ll open it up and start figuring it out.”
Under the video image in the Program, Reference, and Source panels there is a button to switch the video mode from “Composite” to the different scopes.
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Do you have Premiere Pro? First step would be to verify that the issue is in the exported file. In Premiere Pro create a Dynamic Link to the AE comp and import the H.264 file. Insert one above the other on a timeline. Set the Reference Panel to the YC scope, RGB Parade, or combination. In the timeline turn the upper track on and off and note any differences in luminance and color levels. It is natural to get a slight shift in color when exporting to H.264, but if there are significant changes in the YC curve then there is a definite problem with the AME export.
Are you using color management in the AE project?
[Greg Sage] “Then I run it through media encoder to turn into mp4 with YT’s recommended specs.”
Please clarify what you mean by, “run it through media encoder.” Are you creating an intermediate file, or linking to the AE comp and exporting H.264 from AME? Other?
If you are using an intermediate file then include it in the Premiere Pro scope analysis described above.
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You’re welcome. Also, if there isn’t a lot of motion/change then consider using a longer keyframe distance for the final encoding (60-75 frames). Try a few settings and check for differences in file size and image quality. Note that once keyframe distance is greater than one second of footage the reduction in file size will be relatively small.