James Kumorek
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Forum Replies Created
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Open up a CMD window and run the GPUSniffer.exe program in the Adobe Premiere 2015 folder (in Program Files\Adobe). What does it tell you about whether your card is supported or not?
If it isn’t, there’s a .txt file that specifies the GPU cards supported by Premiere. I forget the name — perhaps someone else can provide that. At least in CS6, deleting that file will cause any GPU to be used.
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I’m pretty sure you won’t have to worry about it. I have the C100, and if memory serves, just copy the entire file structure from the card onto your hard disc. Then, in Premiere, use the Media Browser to go into the directory, and Premiere will see the shots as one file for you to import. The “concatenation” of the individual media files Premiere handles virtually, behind the scenes. I’m not in a position to verify that, but I believe that’s what happens.
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Can you describe more specifically what you did to track the TV and apply the track to your mask? And, is this the first time you’ve done this, or have you done this successfully in the past?
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I’ve not had issues syncing in premiere, but I do it slightly differently. I sync by looking at the audio waveforms from the camera footage and the audio recording. And I switch to “Show Audio Time Units” (I think that’s what it’s called) which lets you adjust the audio clip by audio samples, instead of video frames, which lets you get the audio recording more tightly in sync with the video’s audio track.
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I’m still on CS6, so the CC version may have changed, but Premiere does not support bezier masks. Rather annoying, isn’t it? You’d have to do it in After Effects.
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You need to use a disc authoring program like Encore do create a disc that will play in a DVD player. Putting a QuickTime file on a DVD-R disc won’t work.
As far as media type, a DVD-R disc will work well. However, if you need to go to a dual-layer disc, those that you burn yourself are highly problematic, and you can expect lots of problems getting them to play in a DVD player. And dealing with setting the layer break in a DVD-DL has lots of issues in Encore.
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Another possibility is, are all your assets already encoded in Blu-ray acceptable codecs and file formats, or is Encore needing to transcode anything? If you’re letting Encore transcode, it’s going to guesstimate the resulting file sizes of the transcoded video/audio when showing how much of the disc’s capacity you are using. And I’ve found Encore’s transcoding to be squirrely, so I’d recommend rendering out all your assets in Blu-ray acceptable formats before loading into Encore.
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Do you have chapter marks in your timeline(s)? If I recall correctly, Encore picks a chapter mark at which to place the layer break.
Note that layer break support in Encore is rather random. Theoretically, it lets you pick the chapter marker at which it occurs, but I found that it usually ignores what you say and does its own thing anyway. There’s lots of complaints on the web about this, and there’s no simply solution if you need to be really specific on where the break occurs.
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This is just a guess, but maybe it’ll help.
On my C100, if you don’t force Adobe Premiere to interpret the footage as progressive, then you get aliasing artifacts that look a lot like this. Once you do an Interpret Footage in Premiere, it looks good.
Perhaps there’s a similar situation with the output of the HDSDI of the camera — that the Hyperdeck Shuttle is misinterpreting it?
How does Premiere see the Hyperdeck footage — progressive or interlaced? If Interlaced, if you force it to be interpreted as Progressive, does that clean it up? Or, can you force the Hyperdeck shuttle to interpret the incoming signal as progressive?
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My understanding is that the stock codecs are not GPU accelerated, but there is third-party software available that works with Premiere for codecs like H.264 that will us GPU acceleration.