Oki Pienandoro
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I don’t know how manually done, sorry..
But there are scripts for that..
https://aescripts.com/pastiche/——————————————
Sorry for the english, not native speaker. -
Ooh,..silly me..there is a better and faster approach in AE.
All you have to do is use Difference Matte, set the tolerance to zero, output to matte for each comp, turn off source layer.Yes it’s still manual review, but at least the changes will obviously being seen as black and white matte, instead manually watching it side-by-side/masked.
Sorry didn’t much of help.
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Sorry for the english, not native speaker. -
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Well obviously you can put a single frame with your info at the end of the sequence or the start.
If you have countdown, even better.
If it was too obvious, you can just put a barcode instead.
Use online barcode generator, then invert the color, so you will have white on black bacode.
It’s actually very small.
But i think this method will not hold very well if your client resize frame extremely.———————-
Another silly idea, you can “paint” in audio spectogram, so if you opened it, no matter how much re compression in the future, it will stay the same.
But put your “paint” in the area where there are lot of noise/treble/bass. So the audience didn’t aware of it.
Here’s a full spectrum of 2 min file, notice there are black notch at the left side.
https://i.imgur.com/TWsF7si.jpgIf you zoom-in, actually there are text within audio files.
https://i.imgur.com/tC24p9X.jpg
Yes, it’s silly, right ?
But this is future proof, no matter the recompression is being done in the future, it will stay the same.—————————–
The third idea is using SSIM/PNSR, so it’s not altering video/audio in anyway.
Tools to do that, using MSU VQMT, and avisynth (on unsupported format).
https://compression.ru/video/quality_measure/video_measurement_tool_en.html
https://sourceforge.net/projects/avisynth2/But this only work if there are changes in the video.
The problem with this approach is you have to retain at least one master render for each version, not just the project file.
Also the free version will not work on HD Footage, so you need to crop on the fly using AVISynth with frame size less than 1280×720.If you’re on Mac, perhaps this will work with some kind of emulator (Wine, etc)
It’s really easy to use, all you have to do is inputting the video, then put another video (max 2 video in free version) in other box, but in pro version it can do batch.
Set the Comparative analysis to PNSR/SSIM, it will generate the graph.The one with similar graph is the same video.
If you’re not sure, you can save the result as csv files, then compare afterwards in Excel (make graph)——————————————
Sorry for the english, not native speaker. -
Wow, interesting…
Personally i use metadata for a way to pick/choose footage faster. Especially if i’m working in documentary.
I use Red Giant “Bulletproof “for that (which is sadly discontinued), an easier metadata tagger than Prelude or Premiere.And actually you can make your own tag/label in XML metadata in Premiere with ease, no need to follow the “template”.
But in your case, i don’t think XMP data from metadata can be retained throughout the transcode.
Just made a a test file using ffmpeg, and they strip XMP metadata.But re-transcode through the AME can retain the XMP, as long the option were to retain the source metadata.
I can think silly idea to hid the naming/version you did in the file, but i really think you will not like it, hehe..
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Sorry for the english, not native speaker. -
Most likely that was done in AE (if the one that made it not using any plugin in his/her NLE).
That’s just autoscroll-vertical (you can find it in AE Effects preset)And the shifting color is called Chroma aberration, it was easy to make, using “Shift Channel” in AE effects, under channel category. Just google the tutorial
But if i have to guess, the Chroma abberration was done using Scripts, not manually done.
Google it, it should be on top search result, not free though.——————————————
Sorry for the english, not native speaker. -
That is really strange problem you have there, i never encounter a clip/project that play wrong audio, regardless what container.
Sorry, i can’t help you there.Instead of working in Premiere, how about tell the guy to export as FCP XML, perhaps it will work in FCPX?
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Sorry for the english, not native speaker. -
Conforming happen because the source audio is not using the same sample rate that the premiere use.
https://help.adobe.com/en_US/PremierePro/4.0/WS00AF9E2E-9F99-4aff-8961-1E2F30E9ECCC.htmlEdit :
As for your other question :Premiere given the right GPU is really powerful editing suite. No need for trans-coding to other format.
Also the dynamic linking is great, especially if you have a client that constantly makes changes in each revision.
No need to render out files from AE.What makes Premiere my choosen NLE?
I love in Premiere you can just work right of the bat without the need to transcode to other format
From what i gathered, FCPX do this in the background.
So, in FCPX case, if you finished your editing but the background transcode haven’t finished yet, you need to wait.
Is this correct ?In premiere, there’s no need for that; Given the right GPU and there’s no bottleneck in the drive, you can work in 4K on realtime.
But you need to wait to conformed files in Premiere?
Yes, but conforming audio is a lot faster than transcoding video.
Also, if the source is already in conformed sample rate, no need to conform at all.But what i really love in Premiere is the dynamic link. It saves me a lot of time, no need to render out files from AE. This is really helpful since client always makes changes. I can switch back to AE, makes some changes, then back in Premiere, all the changes is being applied automatically.
With new features to able to edit the AE comp text in premiere, is heaven sent feature.
This is really HUGE time saver to makes changes in lower3rd, no need to switch to AE at all.Even if the AE comp is too “heavy” in Premiere timeline, i can do “render & replace” to lift the render burden, but still have the ability to switch back to original AE comp.
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Sorry for the english, not native speaker. -
That’s because your Graphic card were still used/locked by some program somehow, so the GPU Mercury Engine is not available.
About your previous problem regarding premiere won’t even load media, i’ve no idea.
But you can try to delete your cache and database files, see if it helps somehow (yes, it will rebuild the conformed and the peak files the first time you open the project)——————————————
Sorry for the english, not native speaker. -
Yes, most likely the hard drive is the bottleneck.
Since every frame is 5 MB, so assuming it’s on 29.97 fps, it’s around 150 MB/s-ish
On average a 7200RPM drive can only read 110 MB/s perhaps even lower, depends on the drive model.
Also, Hard drive throughput is slowing down the more the drive filled up.Set your cache on your highest speed drive, don’t use them in the same drive.
Better use SSD or raid if possible.About london title? What’s the problem ?
Laggy also ? Same answer as above.——————————————
Sorry for the english, not native speaker.