Jon Barrie
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That would suggest a clip at that exact point is no good.
You might want to find the “rough” spot, export the original clip in and uncompressed format and then replace it in the edit. Try to isolate the problem area with a render area instead of waiting the entire render.
Or you could try to export the whole thing as uncompressed. I suggest Quicktime Animation, you may need to rejig your settings manually to match the frame rate, dimensions, aspect ratio etc.
Use the details shown in the export settings that detail the source and export settings to get the details to manually set. Then I highly recommend you save the preset! 🙂
Once you have the Uncompressed export use that to create any other export formats. like a Master file to slave out. This is not common practice, but when this kind of error appears this is generally considered the fail safe workflow. I export directly from the timeline in all kinds of formats and never have to use this process, but I don’t use a wide variety of formats and codecs.
What kind of media are you editing?
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Depending on the guts of your MBP you AVCHD can be very heavy on the processor. You might see better performance if you drop the playback quality by right clicking in the program (and source too as a separate setting – doesn’t take from the program settings) window and select Playback Reduce it to say 1/4 and go up form there.
Core2Duo might not be beefy enough for a great AVCHD experience.
– JB
Jon Barrie
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Gday Peter,
This camera doesn’t do ingest via capture and the sequence is irrelevant to the media you plan to capture from tape or import from tapeless.
You need to get the recorded video’s complete folder structure onto a Hard Drive, that is outside of PPro workflow.
The camera itself doesn’t talk with PPro like it does with FCP as there is no need to transcode to another file. PPro uses the original folder structure to edit the video/audio saving time to start editing and harddrive space.
Once you get the files onto a harddrive, navigate the Browser panel to the files and PPro should recognize the structure as AVCHD and simply show a listing of clip icons for you to drag and drop into the project panel.
It’s a different process – different doesn’t mean worse, just different. 🙂
Cheers JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Right. Just getting upto speed. Haven’t updated my Mac OS yet. Tend to have a if it works don’t fix it policy with OS upgrades. Waiting until at least it’s been around for a while and known to be completely stable with Adobe and “Other” products.
Tend to be doing the work on the PC more these days anyway. 🙂
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Just to get this thing out I would suggest you Export the whole thing out to Quicktime with the Animation Codec to get a Clean High Quality Export (will eat up the HDD) then use that to export to H.264, just to get it out. It could be a corrupted file at the end of the edit… But just to get the sucka out make an uncompressed export.
I don’t do much VBR anymore.
How much RAM do you have in the system?
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Hey Petros,
Can you start or point to another thread regarding the Timecode issue you face. i use BITC for clients all the time so I might be able to help here.
But make a thread so others can find the info/solution easier.
Cheers JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
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There is no standard response to this. Some might say that bringing in the extra pixels makes for a better scale down, but in my experience regarding render times and pixel for pixel compression I would export out to anamorphic for DVD Projects.
If what you are doing will be going to web or upscaled in future then having the extra pixels may be worth it.
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Try Broadcast Colours and tinker with the settings there. make sure you set it to the Region format you are going out to. i usually add it to a nest of the final edit in an “export” seq that way is blankets across the whole edit in one hit instead of adding it to every clip instance.
ie: PAL or NTSC
You can set one up as the Luma safe limiter and another one to handle the chroma level limiter.– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Then open the original project. Take a look. Let us know which got you going again… Others might find this thread in future. Good to have details for solved.
Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
follow Jon with twitter -
No worries mate. Here to help.
🙂 JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
follow Jon with twitter