Vimeo DOES support HEVC and even recommends it over H264. And 5000MB/sec would create a file size much bigger than the 5gb limit. If I’m going with H264, VBR 2-pass is available on Premiere so need for the third-party encoder.

H264 will only allow about 22mbps for a 5gb file. Same goes for H265. The resolution has no effect on the final export size in Premiere but right now, I’m exporting 144p (2560×1080). I even tried 1080p as well with the same results. Trust me, when you have images with complex texture or darkness in the background, a 5gb file for 30-minute film…

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Hello,

I’m trying to export a high-quality screener for film festivals. Most film festivals have a max. 5gb limit so I normally use H.264, but my 30-minute short shows much pixelation and artifacts in the darker scenes with this codec. I heard that HEVC produces better quality with a smaller file size, so I decided to try it. But when I export on…

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Thanks for your advice, Ty!

Yeah, I think communication is definitely the problem.

When I said, I have “a difficult time listening,” I mean it’s difficult because it’s too loud.

There are very few cracks when I listen to the film on uncompressed audio on TV or on my computer. But they’re still there when the volume gets high, but he says it’s fine and not cracking. And the…

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My more specific question is: “How do I work with a sound designer when I’m not happy with the technical quality of the audio?”

I’m currently working with a sound designer at a studio to finish a film in both 5.1 and stereo. When working at the studio, all the sound is very loud, especially the dialogue. He says that dialogue has to be a lot louder…

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But why does 1920×1080 have to be the standard format though? Yeah, I know that’s 16:9 and the size of most TV and computer monitors. But wouldn’t any aspect ratio automatically fit on most video players on any monitor? Like why export a video in 1920×1080 if you shot the film for 2048×858? Wouldn’t exporting the video in the latter aspect ratio…

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This might be another stupid question but…

Let’s say I shoot a film in any of the common aspect ratios such as 2.35:1 or 1.85:1. Then, why do some film festivals require the film to be sent in 1920×1080 for viewing? Wouldn’t 1998×1080 or even 2048×858 play correctly on a computer no matter what the aspect ratio is? Like if I exported a 2:1 video…

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Thanks!

Wouldn’t that degrade the overall quality of the font?

Quick question though:

If I want to export 2K (2560×1440) but in 2:1 aspect ratio, can I set the sequence settings at 2560×1280 and export 2560×1440? Then, it would still be 16:9 but with the black matte on top and bottom. Would this degrade the quality at all?

Thanks, Bret! Will do.

I shot a film in 23.976 fps and just finished color correction. I was given the files to do the master on Premiere. Since the DCP requires 24 fps, what would be the best option for export? Is it simply to export from 23.976 to 24fps? Or is there a better quality option out there? Someone told me briefly about “conforming” the 23.976fps to 24fps…

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My sound designer recently told me that when changing 23.976 fps audio to 24 fps in preparation for DCP, the sound will be a slightly higher pitch. So, he asked me if he could finish in 23.976. As the DCP requires 24, I have to finish in 24 fps. Is there a way satisfy both him and the DCP guys? Before sending the final video/audio for DCP, I can…

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The font size is going from 45 to 55 so there aren’t major border issues.

And yeah, I’m definitely doing the caption option next time!

I’m thinking of 2K, but it would still be bigger than the sequence settings which means I need to redo it. Thanks!

Yeah, this will be last I use it. 🙁

I’m actually doing subtitles, so I’m thinking there’s got to be a way to save hours of time.

Instead of changing the aspect ratio and redoing every title, would it be fine if I simply increased the font size of the text in the title menu (not the scale). Then, simply changing the position of one subtitle and…

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I’m sure someone has asked this before, but I couldn’t find a good answer anywhere…

I’ve been working on a project in the wrong aspect ratio. I’ve gone from 1920×1080 to 2560×1440.

Is there a way to change the aspect ratio of my legacy titles? Or do I have to do everything all over again? Someone suggested “scale to frame” but doesn’t that degrade…

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Thanks!

This may be a stupid question but here goes…

If I set the aspect ratio to 1920×1080 in the sequence settings, decrease the size of 4K footage by half to fit the smaller size, then export in 4K UHD (3840×2160), will the video retain its original 4K quality or would this be the same as bumping up 1920×1080 video?

Why I ask is that I’ve working on a…

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This may be a stupid question but here goes…

If I set the aspect ratio to 1920×1080 in the sequence settings, decrease the size of 4K footage by half to fit the smaller size, then export in 4K UHD (3840×2160), will the video retain its original 4K quality or would this be the same as bumping up 1920×1080 video?

Why I ask is that I’ve working on a…

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I thought if “none” is selected as working space, then the export would reflect the specs of the original footage. I exported a pr4444 file as pr4444 with 32 bpc. Maybe I’m doing something wrong in the final export?

A little late but thanks for the advice!

I had the working space set as none as well as the final export.

I tried changing the working space to image P3 and exporting it. The colors were a bit more like the original but still different. 🙁

Thanks for the link, Andy.

I actually read that post a while back, but my problem isn’t the monitor inaccurately reflecting the footage. I’m not color grading at all in AE. Basically, I’m working with a shot with P3 color space but upon exporting it Prores4444, the color changes. In other words, a video that I didn’t change the colors for at all,…

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Thanks a bunch for your help Oliver!

Strange. I actually replied to this message a while back but just noticed now it didn’t going thru.

Basically, the colorist is doing exactly what you said. Rendering newly graded, trimmed clips with a new XML. And now I’m about finish the master in Premiere with a PR4444 export.

He actually gave me two versions…

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My colorist graded a shot and sent it to me for some basic compositing. (We needed to grade it prior to VFX due to the nature of the shot.)

He sent me one with Rec. 709 color space and another with P3 for the same shot (one for online streaming and the other for theater projection). The Rec. 709 has come out fine but the P3 footage doesn’t look…

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My colorist graded a shot and sent it to me for some basic compositing. (We needed to grade it prior to VFX due to the nature of the shot.)

He sent me one with Rec. 709 color space and another with P3 for the same shot (one for online streaming and the other for theater projection). The Rec. 709 has come out fine but the P3 footage doesn’t look…

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