Owen Wexler
Forum Replies Created
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Production Premium is best for film and video work.
Comparison chart showing which programs you get with which suite here:
https://www.adobe.com/products/creativesuite/buying-guide.html
This is for the US but the only thing that is different is dollar amounts.Cinematographer – Editor – Motion Graphics Artist – Colorist
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Sounds like banding artifacts to me. I say this without actually seeing the video as I got an error message when I tried to watch it, but that is what it sounds like from your description.
Best solution is to add a light wash of film grain to the clips — you can do this with the Add Grain effect in After Effects, I usually use the Kodak Vision 800T preset with a grain size and intensity of .08, or 1 if there are still banding artifacts afterwards. What this does is fool the compressor into not banding fine gradients (such as skies) in order to cut down filesize — this will result in longer render times and larger files but no banding artifacts.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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With a superflat profile, you have to pull contrast a lot more. Knowing how to read a waveform monitor is essential here if you don’t already. Pull your shadows down and highlights up until the upper and lower traces on the waveform monitor touch 100 and 0, respectively. Adjust midtones to taste. Using curves controls helps a lot with grading superflat footage as it gives you control over all tones in the image. Adding a good amount of saturation will be necessary too.
As for the “pastel” skintones, the best reference you can use for skintones is the flesh tone line on the vectorscope (knowing how to read a vectorscope is essential here)… key out or isolate anything that is supposed to represent skin and adjust color until the traces on the vectorscope representing skintones rest on the flesh tone line, then add saturation to taste (don’t go too far with this unless you want your subject to look like an oompa loompa). Cropping the image temporarily to just an area of skintones helps you see more easily where skintones are on the vectorscope.
Check out this link for more info: https://blog.mxr.at/skintone-grading-hdslrs/
Cinematographer – Editor – Motion Graphics Artist – Colorist
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You definitely need more RAM. 2GB is not enough.
Are there any dynamically linked After Effects comps in your video? Those tend to slow export times way down as well.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Try importing your After Effects project in Premiere Pro, that works as well. File -> Import, Import your AEP then choose the composition you want to bring in, and it will come into Premiere Pro as a linked comp with all your effects and masking intact. I am using this workflow on an effects-heavy commercial I edited in Premiere Pro and am finishing in AE with the Magic Bullet Suite, and knock wood I haven’t had any problems yet (this is with three rotoscoped shots so I am definitely not having any problems with the masking as you described) and I’m almost done with it.
Hope that helps.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Premiere Pro can work with MTS and M2TS files directly, just drag em in.
I’ve had clients give me AVCHD M2TS files without a card structure before and they have come right in just like any other file — Premiere Pro has definitely been a lifesaver in those instances.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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Good glass… I can tell right away that he is using really good glass, probably better than is used by most DSLR shooters on Youtube.
If this comment in their comments section is in fact from the filmmaker:
I was using good old Zeiss G.O. series 35mm, 50mm & 85mm T1.4…Then that confirms it.
Also it was shot by someone who in general has complete mastery over focus, framing, exposure, etc… still the most important “component” of any camera.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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I’m guessing he is using Final Cut Pro 7 or an earlier version, in which you technically can edit H.264 files from a DSLR natively, but it is extremely slow and painful… think spinning beachballs every 10 seconds, not being able to scrub through smoothly, no frame accurate edits…. that is why everyone advises transcoding it before editing. Premiere Pro CS5 and up can handle it because of its advanced playback engine and 64-bit architecture, but FCP7 and below is still 32-bit and can’t handle heavily compressed formats like H.264 and AVCHD as well.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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– TRACKS
– Legacy project support
– Multicam
– Robust legacy XML/EDL/OMF/AAF support
– the return of Color, Soundtrack Pro, and DVD Studio Pro
– Native RED editing with metadata
– Autosave vault
– Ability to reconnect media manuallyCinematographer – Editor – Motion Graphics Artist – Colorist
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Quicktime H.264 is notorious for its gamma issues. If you have Adobe Media Encoder, try using that to convert to an H.264 MP4… that might help.
Cinematographer – Editor – Motion Graphics Artist – Colorist