[Jeff Pulera]

Dave, I do a lot of weddings and have no control over lighting so dark venues = noisy footage, then DeNoiser can be a real life-saver in post! I don’t disagree with you about properly exposing footage of course, but not always an option unfortunately.

Joseph, my workflow is to convert noisy footage before doing any editing. Use a quality intermediate codec and there will be virtually no “visual” loss in quality. For instance, use GoPro Cineform YUV 10-bit (under QuickTime presets) or DNxHD. Either of those will make a large, high-quality file.

I use them all the time for compositing and such, doing multiple generations without visual loss. Once you have that cleaned-up de-noised file, you can edit away without the system bogging down! And of course no weird render issues from too many combined effects.

Another benefit of having transcoded the footage is that these codecs are less-compressed than most camera-native codecs like AVHCD thus requiring less CPU power to decode the footage, so that also improves editing performance. Assumed you have adequate hard drive space for the larger transcoded files.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

But really, if you don’t mind losing the little bit off each side, put the 2048 footage into the 1920 sequence and do nothing else, no scaling needed.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

PS – you will NOT be able to export to ProRes on the PC, as Apple has never offered the required export codec for PC. A few companies have tried to offer reverse-engineered ProRes encoders for PC, but none of them seem to stick around long – perhaps Apple’s legal team gave them a call, I don’t know.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi Simeon,

Are you using Premiere CC? Choose QuickTime, and then GoProCineform YUV 10-bit and that does offer the 96k audio option.

Still not clear, does this have to end up on YouTube? Not sure if they can accept Cineform .mov, maybe try a short sample.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

How is the video to be delivered – is the export meant for YouTube specifically? For YT, you don’t have to upload H.264 – they will accept some higher-quality less-compressed video formats and then the video compression happens on their end. Perhaps ProRes? Assuming your internet bandwidth will support a large file upload.

I understand that a music producer would want the best possible sound, but H.264 video is very highly compressed, so it seems odd to try and marry ultra-high-quality audio to a mediocre compressed video format.

And I guess I’d also question that if this is for YouTube, will viewers have listening equipment to experience the benefit of 96k audio anyway, would they know the difference from 48k? I only ask because I’ve been producing video for over 25 years and have never used or even been exposed to 96k audio, first I’m really hearing of it here. Didn’t know it was “a thing”.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

That’s…a postage stamp.

Garbage In, Garbage Out

Sorry, there is no magic fix, there is nothing there to work with.

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

You’re doing the right thing by keeping the SD card structure intact in unique folders, but in Premiere you should also be using Media Browser for the actual import rather than File > Import. Give that a try on a NEW project.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi Dennis,

In Effects Controls panel, right-click on any keyframe (diamond) and play with changing the Spatial Interpolation and Temporal Interpolation, using Bezier options to see if you get the desired results.

Thanks

Jeff

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Where are you seeing the 23.653 frame rate? If you import the clip into Premiere and use New Sequence from Clip, what is the frame rate of the sequence showing then?

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi Lori,

Help us to help you – what is the resolution of the clip – how many pixels, like 1920×1080? What format is the clip and from what camera/device? And what resolution do you want to edit at and/or deliver at? These are all important factors in determining a workflow.

I’m not familiar with any video format that use a Pixel Aspect Ratio (PAR) of 2.0 (most I’ve seen is 1.5 PAR).

Thanks

Jeff Pulera
Safe Harbor Computers