Jeff Greenberg
Forum Replies Created
-
[Frederick Powers] ” I’m going to try the 49-50 mb/s that might be the key though the upload time is ridiculously long and clogs my internet”
Why not just compress 30 seconds or so and see what they do?
Youtube (nowadays) says that h.264 is what they want. I used to tell people ProRes or DNxHD – but not anymore.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
[Frederick Powers] ” Welcome, thanks for my first post. Simple question. Adobe Premiere CS6, h264, 5.1 depth (at 720) 27 mbps, 720. I’ll show you screen shots, I’m sure this must be a fairly regular question. You can see the unusual shapes in the dark color areas and they are being artifacted! I’ve learned that h264 CBR at around 28 mbps is good for youtube.com Thanks in advance!”
Isn’t it a kiss of death when a client tells you something must be simple? Sorry, Sunday morning.
How does the video look before it’s going to youtube? (Who told you 28mbs? That’s awfully specific. Youtube will let you upload anything from 0-50mbs.)
And have you tried Adobe Premiere Pro/Adobe Media Encoder youtube preset?
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
I’m a little unclear with what you’re asking.
You have SD DVDs as a source.
What are you trying to create?
Is he seriously asking for an SD DVD of 4×3 material padded to 16×9 so it plays right on his widescreen TV set?You should just go fix his TV> There should be a setting on his DVD player (or TV) that correctly adds pillarboxing and doesn’t degrade the quality.
If you do this on an SD DVD, you’ll lose quality, as you’ll have to reduce the picture size to properly add vertical pillarboxing, but remain at 720×480.
Or you’ll be making a blu-ray.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
Go back to ‘all’ the events. Drag the event you want to move. You’ll get a dialog box that looks like this:
Now all you have to do is choose what you want. Then delete the original project. Then delete the original media.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
[Scott Gold] ” My question is, will all the footage/filters stay in tact when I move the event and media or do I need to re-upload all the clips again if transferring it via external hard-drive to the iMac and the FCP on the iMac (which will be a completely new FCP X, nothing in it)? A”
Sure will! If you drag the Project from your drive to an external drive (inside of FCPX) it’ll prompt you to move the project with/without the events necessary.
[Scott Gold] ” How much TB would an iMac be able to handle (got it in 2013, it’s the desktop monitor with built in memory – 16 gig RAM, no tower type). Obviously I’d rather have it on external drives, but I’m curious on how much memory can actually be on the iMac before it starts working slow and crashing/not working? Is there even a limit? Any idea on this? Not as important as the first question, I’m just curious. It’s a 2013 model.”
How much storage? Limited only by what you plug in. I have right now 12TB connected to my system – and you’d prefer it as an external drive. The general rule is that you want to keep as little media on your system drive as possible. You need to keep a minimum of 2x the ram free as storage (so a minimum of 32 gigs on a 16 gig system) for swap files (some memory gets ‘swapped’ to the hard drive when you run too many other pieces of software.) But I’d suggest sticking to external drives for your media.
[Scott Gold] ” I’m also looking into buying a quality external or desktop drive that’s reliable that is cost effective but works very well. I’d need two drives, maybe three. One being the main, one being a backup and the other being a backup backup which I’ll keep locked away.”
Good, duplicated your media is smart. Truthfully, I’ll recommend a drive that has good heat dissipation, as heat is probably a drives biggest enemy – I quite like Gtech for this reason. And 7200 rpm speeds please. But all drives die. All of them. They write it on the side of the box. Keep at least one backup – and professionals use a RAID, often a RAID 5 (a set of at least 4 drives) – if one drive dies, they lose nothing (and can still deliver to a client on time!)
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
[Craig Alan] “By next year I’ll skip Imovie unless Apple updates it to include modern codec’s.”
Will never happen. 😀 Also won’t ingest native from a P2 card anyway.
[Craig Alan] ” Seems FCP X can import the P2 stuff right off the card reader no need to save using panasonic’s reader first.”
Yup!
[Craig Alan] ” I can ingest into FCP X not optimized and send to compressor and set the aspect and frame size to the match the original. Any other setting in compressor that you think are needed (inspector window)?”
Yup – actually all you need to do is ingest and ‘copy’ (just to get it off the cards.) That’ll rewrap it as p2 QuickTime files.
If you open compressor you should be able to make (and save) a straight AIC file. Set it as a destination. Then Ingest off the card; select all, share to the AIC setting.
[Craig Alan] ” As you say the image is degraded. AIC does better with HDV source material. P2 looks great in FCP X though.”
AIC was designed for HDV to be more palatable on lower end systems. I doubt it was ever tested with p2 – after all, iMovie can’t actually see/handle it. You’d have to import it after something else ingested it.
[Craig Alan] ” Would 30PN be 29.97 or 30 FPS?”
Can I talk you into shooting 24 instead? Sigh. I’m not 100% sure. FCPX does have a 1080 29.97P resolution – I suggest you ingest via FCPX, drop it into a sequence and see what it says.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
From P2, we have no choice. iMovie can’t read it. Neither can Compressor.
FCP can – I’d suggest doing a straight copy and then sending from FCPX to Compressor (or/and building a destination under the Preferences.)This way you could copy/link to the P2 material. Select all, and Share to the AIC setting.
But AIC is AIC and will still look so-so.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
[Craig Alan] ” Having trouble getting the P2 files opened directly in compressor. I got P2 CMS working. It creates a folder with the files. Can’t figure how to get it into Compressor. Imports into FCP X. no problem.
I’ve tried “open” in Compressor. No go. Tried dragging into batch window. No.”Yeah, p2 doesn’t open in Compressor. Sure does open in Adobe Prelude though. Or FCPX.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
[Craig Alan] ” You just can’t learn the basics of FCP X in 5 minutes. Plus the FCP X stations are not even installed yet. I have FCP 7 and Imovie on a few stations only.”
I think the ‘basics’ are easier in FCPX than iMovie (Get clips in, assemble them, move them around.) I just think FCPX is more constant and goes deeper. It is more confusing if you’re super comfortable with FCP7 though.
The licenses are a different issue. 😀
[Craig Alan] ” Other clips are coming into Imovie in decent shape despite the AIC auto-transcode. Not so, so far, with the P2 stuff.
But are you suggesting that FCP X transcodes media with the same quality as compressor? That would be a time saver. I’m just thinking that if i could give Imovie the P2 files in AIC from a pro compression program it would be a better transcode than what Imovie does for itself.”
FCPX uses compressor as it’s engine to generate ProRes files (optimized or proxy.) I don’t care for AIC at any flavor and the p2>AIC isn’t great…because AIC was optimized for HDV and older machines.
Sadly, you can’t pick the flavor of transcode from FCPX
[Craig Alan] ” Are any of the compression (send to) options in FCP X AIC?”
You *might* be able to configure your own preset for “Share” in FCPX and yes, you could make that AIC – but why not just have compressor do the lifting? Why go to FCPX at all?
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World! -
The problem in AE is that it won’t do a 2 pass render of h.264.
I can’t recall if this was added in CS 5 or 6, but in Adobe Media Encoder could you see if there’s a File> Add AE composition?
If I wasn’t under the NAB gun, I’d get some footage for you…
[Oskar Westerberg] ” It’s 1280×720, I usually just render h264 directly from AE to vimeo but this time it looked quite nasty at some places (I went with 16mbps to manage to get the file size under 500mb) so that’s why I started up Adobe Media Encoder.”
Who cares about the data rate – double it – at 20-30mb/s it’ll look great right out of AE and should be decent on Vimeo
[Oskar Westerberg] ” I have some problem finding a mov file that isn’t h264 that I haven’t created myself, everything on the web seems to be h264 if you now what I mean.”
Yah. Cough Cough.
Best,
Jeff I. Greenberg
Author/Master Instructor/Speaker/Consulting
My contact info and more
New! Come see me speak @ NAB/Post Production World!
