[Mark Thompson]

I did a bit of research on the Adobe PPro Forum and have found out a few things.
Firstly there are other people getting similar problems , the consensus is that H.265 is almost unusable (on Premiere Pro).

I found out about Intel Quick Sync which is technology Intel have on some of their chips. So you have to select hardware rendering but it will only make a difference if you have that technology.

It is not clear that even if you have that technology that PPro will use it. Oddly Intel list Premiere Elements as supporting it.

There are other things to explore, e.g. does memory make any difference? Does NVIDIA support H.265 rendering?

Does DaVinci Resolve support it?

[Mark Thompson]

I managed to get some 4K FX9 footage, just two minutes. I did a bit of color correction for skin tone and tried to render in H.265. Then just gave up, it is the same old thing of taking an age to render.

Did a render in H.264 and it worked just fine.

To Joseph and those that have had success with H.265, were you rendering from 4K to 4K?

thanks

[Mark Thompson]

I had a quick go and didn’t have much luck, others may do better though.

I got the best results with vocal enhancer but it is only marginally better.

Perhaps the new essential sound panel may help. It has some AI enhanced noise reduction

[Mark Thompson]

Hi,
I’m not hearing much high pitched whine – but that could be me ☹

I hear a lot of room noise, particularly what sounds like a/c fans.

For the future I would see if you can turn that off for the talk.
Also use a lav mic so you can get as close to the speaker as possible.

I had a look in Audition and there seems to be some regular harmonic lines. It may be possible to put a filter on it and at least improve the sound. I will have a try and then post back if I have any success.

[Mark Thompson]

Oliver,
thanks, that is a great answer and will be my workflow going forward.

I didn’t know it could do that.

mark

[Mark Thompson]

Matthew Rosen, on Kinetek posts about “Reductive Lighting”, it may work for you.

https://www.youtube.com/watch?v=xJn2AfvhI6Q

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[Mark Thompson]

HDR mode is what you want.
For example bring up the Lumetri Scopes panel (I’m using CC 2019 but I’m pretty sure it has been like this for a while). At the bottom right you will see a dropdown that lets you choose from: 8 bit, float or HDR. Select HDR and you will now see the scopes go up to 10,000. This is in nits as required for HDR but if you have 10 bit clips you will be able to see more than the 8 bit data points.

On the Lumetri panel, on the menu select HDR (then re-check the scopes are still on HDR) and you will have more options.

This should let you use the full 10 bit range and then some.

When you render a project like this it will not necessarily be an HDR Render, you can still choose what format you want.

If you want to use all 10 bits on a Rec 709 time line, i.e. not be HDR just have more color on a SDR project? I’ve not tried that , perhaps someone else can chip in that has tried it.. I expect it will go back to 8 bit when you render.

[Mark Thompson]

Bruno,
you have stepped into a very challenging area ☺ The answer is that you can do what you want to do but there is not a very satisfactory process to do so. You have to be very persistent.
Usually people use 10 bit (and higher) media as a source for HDR projects.

There is a good section in the Premiere manual at: https://helpx.adobe.com/content/dam/help/en/pdf/premiere_pro_reference.pdf

Search for “High Dynamic Range Controls”. Basically you have to enable HDR in various places to get to the required mode.
The challenge is monitoring your grade as you do it. You will want a monitor that can display 10 bit data. These are starting to get cheaper now. You may need a graphics chip that supports 10 bit but even with that only the workstation chips (from NVidia) can be used by Premiere (through the OpenGL interface).
What I do is render the project and upload it to YouTube. Then I can watch it on my monitor. Not satisfactory but better than nothing.

Carlos Quintero has a good video about how to upload:
https://www.youtube.com/watch?v=Wnk1Nm5LNN4

There are a couple of articles, from good sources, that explain some of the limitations.
https://mixinglight.com/color-tutorial/hdr-essentials-getting-setup-in-premiere-pro/
and
https://www.mysterybox.us/blog/2016/11/17/adobe-premiere-cc-2017-real-world-feature-review

[Mark Thompson]

Hi Joseph,

that’s encouraging.
I’ll try a couple of test projects.

Are you working with UHD or HD?

thanks

[Mark Thompson]

Cinematography Mailing List had a discussion on the charts they used to test cameras. People chipped in with their preferences and a note on why they thought they were good.

https://cml.news/g/cml-raw-log-hdr/topic/what_charts_do_we_use/22400311?p=,,,20,0,0,0::recentpostdate%2Fsticky,,,20,1,40,22400311