[Mads Nybo jørgensen]

Hey Leonard,

Adobe is making a few changes around managing graphics.

This a change that happened in v23.3.

Don’t know if it is relevant, but sharing anyway as it is a change that has happened between the two versions that you and your colleague are running:

Import MOGRTs more easily

When importing Motion Graphics templates, Premiere Pro displays a dialog that explains that the template will be stored under the Browse tab in the Essential Graphics panel (and not in the Project panel).

Learn more about installing and using Motion Graphics templates in Premiere Pro.

Adobe has a way of making changes that are hidden away, unless you read the small print…
I suspect there is more “tweaks” coming.

Also, have you tried to search the Adobe Stock Library via your web-browser?
https://stock.adobe.com/uk/search/templates

Atb
Mads

[Mads Nybo jørgensen]

Hey Paul,

Don’t worry, detail, although slightly time consuming 😉 is very good.
The joys of taking over a 3-camera project shot on 3 different camera models…

It sound like the key to your solution is to have the end in mind.
As in if you have delivery specs from client, then that is where you should start.
For now I would assume that you are going to deliver 1920 x 1080 HD.
But is it for Broadcast (terrestrial), streaming (YouTube?) or screen projection playback, or similar?

Based on the size of the file, your 50 fps second file at at 275,79 MB (v 4,94 GB for the 25 fps) suggests that there is a lot of compression going on, whilst 50 fps would add even more uncertainty as to where the full frames “land” in playback. (This is again depending on length of the clip – if a shorter 50 fps clip, then the compression could be the same)

“Would it be possible for the project to have gotten slower and slower
over time as a result of copying and editing footage from and between
different fps sequences into the main sequence?”

In theory yes – but this where it comes down to the specs of your system and drives (HDD / SSD – on USB / Thunderbolt / Raid and so forth)
One way of dealing with it, could be to edit each part (section) in different projects, and stitch them together in the end.

“the one with the problem had a different “Fields” selected”

Could be the problem, but that is assuming that all three cameras are recording in the same codec, in which case it is worth matching them up.

“The ones without issues are set to “No Fields (Progressive Scan)””

The whole “Fields” discussion is a red herring, as if you are shooting progressive, there are NO fields (although some codecs, potentially like a 50 fps recorded file, might “stuff” 2 full frames into one and call it fields – other smarter people here can elaborate on this).

Don’t know how far you are in the editing process, but I would consider re-encoding the 50 fps footage to a 25 fps file, like ProRes or similar – then that problem might be erased with very little, if any, degradation to the source footage.

“The channel I’m delivering to insists on “Upper First”.”

As your client has already shot in progressive, then that footage will always apppear as progressive in playback regardless of how the final master is exported.

If channel says “Upper First” I would check if they are more specific about the codec that they want you to deliver in.
There is nothing wrong in editing your camera source footage in progressive, and add vfx, title sequence, graphics, end roll and so forth in “interlaced” and export is it as interlaced master – your video footage will always remain progressive regardless of the final output.

You could edit the video, export the edit as a flat ProRes file, and then add all of the graphics etc on top of that in a PPro Sequence set to interlaced (1080i instead of 1080p), before doing a final pass for the end-client master.

I should add that some of my suggestions above, again depending on where the film is to be used, is possibly not a good idea to suggest in public…
(In a distant past I have worked on DV-Cam PAL footage mixed into a HD project, that was transferred to 35mm, and projected in ta large audience in a big cinema – difficult decisions had to be made to make that happen…)

Hope this helps.

Atb
Mads

[Mads Nybo jørgensen]

Hey Bjoern,

I found this example for you on MotionArray which you can crop to 9:16 format of your choice:

https://motionarray.com/stock-motion-graphics/vertical-filmstrip-overlay-1017168/?q=filmstrip&specs=orientation%3Ahorizontal&subcategories=framing-devices

I’m guessing that you might have two issues in your search:
As there never was, as far as I know, a “vertical” film format, unless possibly for special effects and fairground attractions, this would have to be a custom built in the edit.
And, your search may need to include words like “filmstrip”, which might not be something that you would normally use in film production or the film lab.

Hope that this helps.

Atb
Mads

motionarray.com

Vertical Filmstrip Overlay - Stock Motion Graphics | Motion Array

Download Vertical Filmstrip Overlay, a stock Motion Graphic template by Zemletrus. Discover Motion Array’s collection of digital assets for all your creative projects.

[Mads Nybo jørgensen]

Hey Jacob,

Sorry for the late reply – I got sidetracked, and your post (email) disappeared down a long list of holiday emails.

I have had great results with Topaz Video – they bring out updates really fast, and gives great results. However, it is a render process. So you may consider doing the edit first, and then up-scale the master before adding graphics etc to it.

Check out:
https://www.topazlabs.com/topaz-video-ai

Sorry again for not joining in sooner.

Atb
Mads

topazlabs.com

Topaz Video AI

World-class video quality enhancement on your desktop. Use temporal information to naturally upscale, deinterlace, restore, and increase frame rate on videos.

[Mads Nybo jørgensen]

Hey Maarten,

Sorry, this is the A.I. forum (Artificial Intelligence) as opposed to AI (Adobe Illustrator).
We might be able to do a generative version of your graph, but better not.

May I suggest that you head over and post your question in the Illustrator forum:
https://creativecow.net/forums/forum/adobe-illustrator/
Sometimes it is also worth asking in the Photoshop or After Effects + expressions forum, as there are some very smart people there too, who works on all axis of video and graphics files.

Atb
Mads

creativecow.net

Adobe Illustrator – Creative COW

Adobe Illustrator – Creative COW

[Mads Nybo jørgensen]

Hey Mariusz,

Agreed, sorry but that looks horrible.

Out of interest, how does it play when playing from the Sequence on PPro Program monitor?
I often find, and that is on a high spec PC, that the source monitor in Premiere Pro is hit and miss as to whether it plays nicely, and if I can see and use the controls in that window. Admittedly, I’ve found ways of working around that. But it is annoying when you are working with a client. Although, I do not have not yet had the jitter that you are seeing.

If you can, it might be worth you sharing following info on your hard-ware set-up:
Size of Memory on PC?
And is it allocated to Adobe CC, and what is your “File Manager” Process window showing you?
As in, is there another piece of software “eating” away at CPU/GPU/Memory resources?
What is your storage – SSD?
Source file / Codec info?

Hope this helps.

Atb

Mads

[Mads Nybo jørgensen]

Hey Paul,

Loads of info, great.
Thank you for sharing.
Only thing that additional info that might be helpful is as to where the footage is originating from?
(Camera, Zoom, or other source)
Also, was the 50 fps shot for slow-motion?

A few observations:

One thing that stands out on the 25 fps footage is:
Color Space: Rec. 601 (NTSC)
Maybe match that to the 50 fps footage:
Color Space: Rec. 709
Also check as to why the 25 fps thinks that it is operating in a NTSC color space?
(Not sure that it matters whether it is NTSC or PAL – but it could do)

You could as a test on the 50 fps footage try “modify it” to 25 fps?
So both sources are the same frame-rate – again, should not make a difference, but…
Basic instructions here for changing frame-rate (just in case):
https://helpx.adobe.com/uk/premiere-pro/how-to/work-with-clips-channels-speed.html

The duration on the 50 fps file does not look right:
Total Duration: 00:00:23:00
As in from your description, it suggests that this clip should be much longer than 23 seconds?
If so, it may be that the MP4 file is corrupt.
Might be worth putting the 50 fps clip through media-encoder, and at the same time change it to a 25 fps clip.

Hope that this helps.
There are smarter people hanging out in the barn, who may have additional suggestions.

Atb
Mads

[Mads Nybo jørgensen]

Hey Bernhard,

There are easier ways of inflicting pain on yourself, than working with “actors” jumping around on a stage in front of your screen.

But if they have the money, then why not.

However, in those situations, I cut to the slide full-screen (from file supplied by client), or frame it on to a static or moving background (in case slide is 4:3 and master needs to be 16:9).
You could also build a Zoom like split with presenter on one side, and slide on the other.

Obviously, I am not being helpful here. Sorry 😉

And, don’t worry, even if Adobe calls it “obsolete”, difference key/matte will always survive in one form or another.

Atb
Mads

[Mads Nybo jørgensen]

Dylan,

With all due respect, why are you opening a new thread on this?

How many months have you spent on this project?

Including previously asking for a copy of the original BBC project.

Hate to say it, but you need to dive into learning After Effects, or pay someone to do the job for you, rather than asking for free “Silver Service”.

With all good intentions on my part.
Mads

[Mads Nybo jørgensen]

Hey Bernhard,

Fab, that you got the fix that you needed!

Yes, obsolete, but it is still there – what gives?

Currently, if your subject is moving through the shot, you can use Mocha (BorisFX – included in some of their plug-ins for PPro, and basic version in After Effects).
Or, if go down the Adobe “contemporary” option of using the Content Aware Fill in After Effects which involves some AI generative processing.

Both Mocha and Adobe is for the right shot, really good choices.
But will not beat the speed and quality of a good difference key.

Atb
Mads