[Jeff Pulera]

Not sure why you are exporting still images when working on video. Use a video codec that supports alpha channel, like Cineform and export to that, should be much smaller than thousands of hi-res still images.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

The HD 5870 is from 2009…can I assume the entire Mac is that vintage?

[Jeff Pulera]

Hi Kieran,

There are many kinds of video files, and within them many types of audio files with different specifications. During import of video clips, Premiere converts all audio to its own proprietary .cfa format for consistency and performance so that when editing Premiere is not trying to mix all different types of audio files on the fly. It will always generate these .cfa files and if you delete them, they will regenerate, no way around it.

Quite simply, get an external hard drive. Never recommended to use the system drive for editing anyway, with any software, if that is what you are doing. Should always have a dedicated drive for the media being worked on so that drive resources are not shared with OS and apps, which hurts performance.

External storage is pretty dirt cheap these days (compared to years ago). Really no reason to try and edit large projects on a 500GB drive. I don’t know if you’re on PC or Mac and what connections you might have for external storage. Please let us know and I can suggest some options.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi Luke,

A general rule of thumb when selecting Sequence Settings for your project is simply this – what footage do you have the most of? That is typically what you might set the sequence to, but not for sure since intended delivery specs will also play a part. If you can let us know what the bulk of the footage is, like 1080i, or 1080p60 or whatever, and also how/where you intend to deliver, that makes a difference – YouTube, Blu-ray disc, what? Many factors at play to make the optimum decision.

Thanks

Jeff

[Jeff Pulera]

For users of Adobe CC, Cineform is already in the Media Encoder options, but CS6 users will need to install manually.

https://helpx.adobe.com/premiere-pro/using/gopro-cineform-codec.html

I just checked for a download of the Cineform codec and it doesn’t appear to be available any longer. What you can do is install an older version of the GoPro Studio software and that will install the Cineform codec on your machine and that does include alpha channel support. Assuming you have a PC?

If you want to PM me, I can set up a DropBox for the GoPro download as I still have an old copy

Thanks

Jeff

[Jeff Pulera]

Hi Travis,

Please provide a screen shot of the Export Settings used in Media Encoder. That will be a good starting point to look for issues.

Also, how are you viewing the finished Blu-ray disc? This could possibly be a player issue, need to rule that out and determine if the actual video clip you created has glitches. You should be able to play that clip right from the Premiere timeline or maybe in VLC player for example and see how it looks there.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi Julie,

As mentioned by others, the 444 is most likely overkill that is creating very huge files that are difficult for your storage to play back. Moving forward, ProRes HQ ought to be more than sufficient. Considering how extremely compressed most source footage from the cameras is these days, there is nothing to be gained by going uncompressed or anywhere close to it.

Thanks

Jeff

[Jeff Pulera]

I actually never really mess with the render settings, simply because I don’t “render” my work, meaning turning the timeline bar from yellow or red to green. Unless playback is so clunky (due to heavy effects) that I can’t get a watchable preview (which is almost never), I don’t render anything.

https://theblog.adobe.com/red-yellow-and-green-render-bars

And even if you do render portions of the timeline, unless you check “Use Previews” in the final export, those temp render files are not used anyway and the final export format is created directly from the original source clips which is often the preferred method to maintain best quality.

So again, depending on footage it might look just fine as 30p in which case just use the H.264 > YouTube 1080p30 preset for export.

And since you are mixing 60p and 30p sources, and using slow motion, would recommend using a 30p editing sequence for best results if delivering as 30p. Better slow-mo for one thing.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi Kevin,

Welcome to the COW!

When I edit 60p clips, I generally do so in a 30p Sequence and then Export as 30p also. That’s just me though. Editing 60p as 30p allows for some nice 50% slow motion as needed on some clips.

What is the content of the footage? How do you intend to deliver and view the exported video?

If working with some sort of fast-action footage (sports etc.) then maybe you want/need to deliver at 60p? For other needs, like weddings, then the 30p delivery with option to get the nice slomo may be preferable.

Please let us know more about what you are doing and that will help us to suggest an optimum workflow.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

I really don’t know if there are any ill effects to this fix, I just know it fixes the cross dissolves

Thanks

Jeff

Jeff Pulera
Safe Harbor Computers