Myles Conti
Forum Replies Created
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Hi Andrew,
It’s been ages – hope you’re well. I recently had a heap of issues that seemed to be preference related where my RedGiant plugins weren’t working, and I was getting conflicts that would often cause Premiere to crash. The reasons my problems started came about with the 10.9.3 update and unfortunately the only way forward for me, was with the release of 10.9.4 – I did a clean reinstall of my system, all my apps and plugins. Now everything works as it should. If you keep having problems I would recommend putting aside a day, backing up everything and starting from scratch, it’s a bit of pain up front, but in my case was definitely worth it.
If you don’t have time for that – I’d suggest contacting RedGiant support – they were very accommodating, and might have a solution that works for you.
Cheers,
Myles.
Myles Conti
Director/Editor
contibrosfilms.com -
It depends on your machine setup. I work with native R3D files all the time in Premiere without a Red Rocket card. Depending on the size of the R3D files, set your playback settings accordingly. I usually have them set at 1/2 or 1/4 res, and on my new Mac Pro they play back quite smoothly, without the need for rendering. On my new machine I’m even sending my timeline to Speedgrade, applying a quick grade to the rushes, sending back to Premiere and editing, all without rendering, and able to work fine.
At 1/4 res 4k footage looks about the same as Standard Def when editing, and 1/2 res looks close to HD.
If you’re working with Dragon 6K files, you may have to drop don to 1/8 res (depending on your machine) I’m currently editing a job shot on Dragon 6K on the new Mac Pro with a speed grade look applied, and it works fine at 1/4 res – outputting to my HD broadcast monitor.
If you’re ending up outputting HD – then it makes sense to work on a HD timeline and scale to fill, and you can probably work at 1/2 res.
Hope this helps – the only time you will need to go higher is for output.
As for processing time, I recently did a 2 cam job where we shot Dragon 6K and Scarlet MX 4K. The rushes were given a grade in Resolve before being exported at highest output quality to ProRes HQ HD files. On a new Mac Pro the Scarlet footage was rendering at real time (while applying grade), whereas the Dragon footage was rendering between 11-15 fps (depending on the complexity of the grade).
Myles Conti
Director/Editor
contibrosfilms.com -
Hi Richard,
Here are two screenshots for different TVC delivery. One of them allows you to upload 1024×576 whereas the other is what is actually broadcast and is 720×576
Hope this helps
Myles Conti
Director/Editor
contibrosfilms.com -
Hi, I use the stretch to fill option all the time for SD broadcast delivery – always working off HD timelines. In fact I delivered to station on Monday using PP CC 14 – and everything appeared fine, I did this through PP not Media Encoder, but use either regularly without experiencing these problems, so don’t think its an issue with 2014.
Myles Conti
Director/Editor
contibrosfilms.com -
With the latest release of Adobe CC 2014 today – has there been any word on compatibility with 10.9.3 and the latest Mac Pros being resolved? I’ve done some googling – but am yet to see anything.
Thanks,
Myles.
Myles Conti
Director/Editor
contibrosfilms.com -
It’s an issue if you’ve updated to 10.9.3 – there’s a number of people out there in a world of edit pain at the moment – myself included. If you have an option to roll back to 10.9.2 do that – otherwise run software render only until either stable 10.9.4 is released – or adobe updates come out – if they are able to fix the problem. All the best.
Myles Conti
Director/Editor
contibrosfilms.com -
Do not upgrade – graphics card support for Premiere Pro and Resolve has conflicts with 10.9.3 – resulting in bad renders, crashes etc. I’m currently in a world of pain – there are a few articles I found online about it – if you have already upgraded, best to try roll back to previous version.
Myles Conti
Director/Editor
contibrosfilms.com -
I’d build a frame for the floor that was approx 15cm high all the way around, line it with plastic and make water tight.
Then place Perspex mirrored sheets down as a base – this will reflect the green screen so you have a key able floor, but also give you true reflections of your subject.
Then add between 5 – 10 cm of water on top of the Perspex, get your actor to walk on it, and shoot on a decent format. I find Red is my go to camera for green screen.
Good luck – let me know how you go.
Myles Conti
Director/Editor
contibrosfilms.com -
Try mocha – plugin that comes with after effects – it’s a planar tracker, so it tracks the surface – perfect for phone screen replacement.
Myles Conti
Director/Editor
contibrosfilms.com -
I could be wrong, but I don’t think that it’s supported in CS6. In which case you may need to transcode your footage first.
Myles Conti
Director/Editor
contibrosfilms.com
