Jonathan Lapointe
Forum Replies Created
-
Hey thanks to both of you for taking the time to respond. I love hearing about how things were in the “old” days of film, because that has guided so much of what we do today in the digital world. Being a “young upstart” I haven’t had the opportunity to work off of a telecine machine, or even much with film for that matter, so I feel I’m missing out on a huge wealth of knowledge, particularly regarding film stocks and processing techniques. So I really appreciate you guys taking the time to share your knowledge.
Thanks,
Jonathan -
This sounds like a perfect candidate for a feature request. You should submit it to Adobe: https://www.adobe.com/go/wish_de
Adobe’s improved their markers quite a bit over the last view releases, but there’s still a few things to go. In my workflow, I use markers that extend over the period of time something occurred in the footage. I love this feature because I can name the marker and see instantly in the timeline or preview monitor where something happened and set my in and out points right where I need them. However, the one big annoyance with this is that Premiere won’t snap to the ends of the extended markers in the preview panel, whether holding shift and dragging with the mouse or using the shift+m shortcut. It seems odd to me that such a simple feature wouldn’t be in there, since you can snap to the ends of markers just fine in the timeline panel, just not in the preview monitor. Just one more feature to request I guess.
Hopefully Adobe comes through for us Alex,
Jonathan
-
Well, here’s the short answer: the sections of the video marked in red are clips that premiere cannot process in real time. However, these areas will still export fine in the final product. This is how many editors had to do their projects until relatively recently with the advent of GPU processing.
One thing you didn’t list in your computer specs is the type of GPU you have. However, you said you can change the processing from software only to GPU. I would highly recommend doing this if you can as that activates the Mercury Playback Engine, Adobe’s GPU processing software that allows many effects to be rendered in real time. That being said, the Mercury Playback Engine won’t work for everything, in particular your clips that are dynamically linked to After Effects. Those use the AE render engine which works differently than Premiere’s. For now, you’ll just have to live with that (unless someone else knows a secret they’re not telling me).
Anyways, I hope that helps, and I’m happy to help with any other questions you have.
Jonathan
-
While I’ve never done this effect specifically, one plugin that’s really useful for these types of thing is Twitch from Videocopilot.net. It’s fast and straightforward but with lots of power. Particularly you may find the RGB split feature useful on it.
Hope it works out,
Jonathan -
Glad it worked it out! 🙂
-
When I had the issue I was running on either Snow Leopard or Mountain Lion, don’t recall offhand, and I was running CS6. The solution that I ended up with then was simply to switch to a different encoder, in my case Telestream Episode. It’s a very robust and professional encoder but it doesn’t come cheap. Also, while I haven’t fully tested this, I believe in my case upgrading to Adobe CC cured it as well.
In regards to the stretching issues you’re seeing, is this NTSC 4:3 Standard Definition video you’re working with? Or is it something else? Not knowing too many specifics of your situation, the first thing I always check when something is stretched improperly is the pixel aspect ratio settings. If you’re working in an NTSC 4:3 situation, you should have rectangular pixels at 0.9091. If it’s NTSC Standard Definition Widescreen then you need rectangular pixels 1.2121. If it’s HD 1920×1080 or 1280×720 then you should be using square pixels.
I’m not sure if that’s what you’re looking for, but that’s just the first thing I always check. If that doesn’t fix the problem, just provide as much specific information as you can, and maybe we can figure something out.
Sincerely,
Jonathan -
Hi Mark,
Let’s see if I can be of any help.
1. Regarding the color grading. My personal preference is to use Davinci Resolve Lite, which is a free download available from Blackmagic. If you haven’t heard of it then I would highly recommend checking it out as it is one of the world’s top color grading platforms. However it does have a bit of a learning curve. So if you want to stay within Adobe’s offerings, the first question that needs to be asked is which version of Adobe do you have? Is it CS6 or earlier, or do you have Creative Cloud? If you have Creative Cloud the best option would be to use Adobe Speedgrade, or if you don’t have time for that, the built in Lumetri color engine in Premiere CC can do some very nice things as well. Note that Lumetri is only available in Adobe CC, however. If you’re on CS6, then your best bet is probably to send it to After Effects and use the built in Color Finesse plug-in, or a 3rd party plugin like Colorista II.
2. I’ve never done a 16:9 to 2.35:1 conversion, but I’ve done 16:9 to 4:3. It should be possible using either Premiere or After Effects. In Premiere you would need to create a new sequence that is setup for 2.35:1. Then I would recommend Nesting your previous edited sequence within this new cropped sequence. Premiere will prompt you to let you know that the sequence settings don’t match the footage and will ask if you want to change the sequence to match. Say “Keep Existing Settings”. Your footage will be brought into the new 2.35:1 sequence, at which point you should be able to shift it up and down as you please within the sequence. Be aware that there may be some anomalies caused by the change in pixel aspect ratio.
Hopefully that helps.