Mike Kelland
Forum Replies Created
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Download the Blackmagic Desktop video software from their website – it has a folder in the package with bars. There’s a 100% bars file in there that is what you’re after. The bars go from top to bottom of screen, just 8 lines of color – will appear very bright on your video output monitor as all colors are at 100 percent. Think FCP7 has a 100% bar generator too.
Hope that’s what you’re after. I use the Blackmagic one to meet Channel 4 specs for sending to the UK.
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I use the eyeheight legaliser quite often. Only issue I had was with still images (with ken burns moves etc) rendering with illegal levels. It happened when I nested a progressive sequence into an interlaced sequence, so I could have interlaced scrolling credits with the rest of the doco having progressive pan and scan etc. Otherwise it has been very reliable, albeit super slow to render/export. I use the ‘extra safe’ setting. Have you got the plugin on an adjustment layer? I.e. It needs to be the last effect in the chain to work properly.
Cheers,
Mike -
With Pr Pro CC 2015 I’m getting weird behaviour in the timeline with my Intuos 5. Every time I scrub, the playhead will flick back to where I started, unless I am very slow and deliberate. This doesn’t happen in Pr Pro CC 2014. Weird and very annoying.
On Mac OS X 10.9.5
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I’m getting this as well – Pr 2015.0.2, Max OS X 10.9.5, nMP D700, Wacom tablet.
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I’d go with Greg’s advice on this one. Have had my nMP D700 for a couple of years and playback has been pretty bad (dropped frames/choppy playback with simple effects or no effects). Export has has it’s issues too with line artifacts for a while, chronic red frames in .MXF’s till 2015 came out… and my colleague exports faster than me with his 2010 12core with a single graphics card (Nvidia titan). Bottom line – Premiere Pro CC is NOT tuned for the nMP – they’ve had a couple of years to do so but have chosen not to.
At least the nMP is really quiet and has thunderbolt. That’s what I keep telling myself anyway.
Cheers,
Mike
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I agree with Cody – when you’ve got clients over your shoulder you don’t want: ‘will probably play back in realtime’. You want: ‘WILL play back in realtime’.
Adobe need to rethink how the yellow bar works: yellow should be like how FCP7’s light green and dark green worked – i.e. will ALWAYS RELIABLY playback without stuttering or audio glitches. If Premiere Pro CC can’t give you smooth reliable playback without stuttering or audio glitches then it should put a RED bar over that section so I know to render it for client viewing.
For me this has been the biggest issue with my transition to Pr CC.
Cheers,
Mike
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The sd timeline should be set to upper field first too – that might be your issue. Also 55% will mean you loose a bit of your frame. I usually scale 1080 to 53.5% in sd in fcp7 but in Pr you need to do the x and y scale separately with different % for each, just experiment till you don’t see any black or blurring on the edges. I add 2.5 Gaussian blur too to take away any edge buzzing – especially with 1080p downres,
Cheers, Mike
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To convert 25p to 24p interpret the 25p master clip to 24p (right click ‘interpret’ and change to 24fps) then put that clip in a 24p sequence. Then for the audio you’ll need to do a 4% speed up while preserving pitch in Audition (you’ll need to experiment there – can’t remember best way to do it)then drag that new audio file onto the 24p timeline.
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Yes, 1/50th is the speed to go for. To convert to 25p for web I usually nest the 1080i sequence into a 1280x720p sequence and export to 720p MP4. Or export a 1080i ProRes and use MPEG StreamClip to export to 720p MP4 ticking the deinterlace and high quality downres options.
I’ve tried exporting to 720p direct from 1080i sequences in Premiere Pro CC but had awful results. The other techniques above look great though…
Cheers,
Mike -
Thanks for testing, Tim 🙂 Weirdness. I think I’ll export the .psd to .png (it has heaps of smart layer etc) and blur that before importing to Premiere Pro CC.
It could be a bug – hope Adobe read this and test at their end.