Jeff Greenberg
Forum Replies Created
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Compressor (based on the defaults!) are set to properly handle frame rates and interlacing, QuickTimeX and QuickTime 7 players know nothing about such things.
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I don’t think you can do this short of flash.
Take a look here: https://brianchau.wordpress.com/2009/04/08/transparent-flash-video-overlay-on-html-page/
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more -
Sure do!
FCP wasn’t built for compressed audio. Uncompressed audio is fairly precise; it’s exactly the same amount of data every second. But compressed audio? Ah, therein lies a problem; to compress information it (at times) has less information one second compared to another.
Most modern software (FCPX, Adobe Premiere Pro) ignore this nowadays; but you waste some (minimal) horsepower with on the fly conversion.
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You’ll get no additional benefit past ProRes 422. Some might quibble about using LT (it’s a little compromised in quality.) HQ and 4444 are just wastes of space. Proxy is too much of a compromise and is not meant to be used other than ‘offline’ edits.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more -
Open Adobe Premiere Pro;
Preferences > Memory
Limit the Ram for all the adobe linked apps to 16 gig…leaving 8 gig free for your system resources.Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more -
I don’t think I’ve seen that one before. You might actually want to call adobe on this one…
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[Wendell Davis] “On the road for “months” at a time laptops are usually the answer. If I am close (Boston area) to home as in Vermont and right now New Jersey”
Ah, that makes sense. (Love boston & vermont. As a Philadelphia, mixed about jersey, 😀 )
[Wendell Davis] “Pegasus: isn’t it “small” enough to be able to “carry” or ship sort of?”
It’s heavy – like 10-15 lbs or so and it’s substantial. It’s not something I’d want to carry in a backpack (but a roller back or a pelican case? fine.) I haven’t tried much travel with it (I’d do a car/train in a case vs. taking it on a plane anywhere)
If I was going to take it on the ‘rough and tumble’ of the road, I’d suggest the r6 formatted as a Raid 6 to give you two drives that could fail vs. one.
I’m assuming you’re working with footage that you need that sort of speed; on the road I might take a pair of fast USB3 drives – just to fit them into a backpack.
[Wendell Davis] ” The decision has come down to our son (going through kemo and rehab) needs a new computer. He’s getting my 17 inch. At age 66, this may be my last major blown out computer purchase. We’ll see.”
I just had my first (I’m about 4 years younger than when you had your son) – tonight we’re dealing with our first ‘major’ fever. Best of luck to your boy.
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Well,
I’m using Adobe Premiere Pro CS6 – what version are you using?
[joseph hayhurst] “When you trim a clip on the timeline do you have to rename it and put the trimmed clip in the project with another name?”
No, that would be if you duplicated a clip in the browser. We’re using the same clip a second time in the timeline. Adobe Premiere Pro treats the duplicated clip in the browser as two separate clips; but if you duplicate the one in the the timeline, it’s the original clip used twice.
[joseph hayhurst] “, I right click on the clip and there is no choice for tha”
Clip Menu > Speed Duration.
If you’re using an older version of Premiere Pro it may be different!
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My guess (and it’s only a guess) that a bit has been flipped in the original qt file and it’s damaged. When you used QuickTime pro and made a copy? It rewrote the header correctly which is why you can use it.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more -
[ChrisMarsh RetronicaVideo] “Right now i m using a Apple intermediate codec 720@50 on the timeline settings”
I suggest that your retransfer your footage to ProRes. Apple’s Intermediary Codec was designed for G5 systems and willing to sacrifice quality to get playback. You do not want this.
If you retransfer at prores, FCP will work very well. Put your first clip on the timeline and it’ll ask you if you want FCP to make it match (and you do.) No other headaches involved!
[ChrisMarsh RetronicaVideo] “then when it comes to exporting my video i will simply export as a quicktime movie, meaning that my final file is normally in the couple of Gigabytes, then i have a piece of software that compresses it down.”
Well, I’d suggest exporting your timeline when you finish as a Digital Master a final version divorced from your editorial system. You can store this indefinitely and make whatever distribution copies you like using Compressor or another compression application.
FCP7 has the extra ability to talk directly to compressor (from your original timeline) and get a small quality advantage.
Using ProRes 422 as a transcode or for longer term storage is a common workflow. You visually will not be able to tell the difference between your camera originals and your ProRes footage.
[ChrisMarsh RetronicaVideo] “I understand that when you compress something obivously you will lose some quality, but sometimes it becomes very pixelated.”
Any time you compress or transcode the quality takes a hit.
Camera file > ProRes 422 (nearly invisible.)
Camera file > AIC (visible quality hit)
ProRes finished version > h.264 (visible quality hit depending on how severe you set the compression.)Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more