Ryan Holmes
3
COW Coins
Forum Replies Created
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What format and codec are you encoding to? Can you system commonly see that format? Have you tried other players to verify it’s missing data – Quicktime, MPEG Streamclip, VLC, Cineplay, etc?
Given that you have a 12 hour timeline, break it up into some smaller test exports to verify it’s outputting those sections correctly. If not, it could be a corrupted media problem or some plugin you have on the footage not translating properly.
On another question – who do you expect to will watch a 12-hour file? 🙂
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Glad that it’s coming out better. I’m thinking the h.264 mov file is a general non-standard way to display h.264 content, and Quicktime will restrict the options you can encode with, as you notice. When comparing h.264 mp4’s I’ve not noticed a big game in quality between Compressor, AME, Squeeze, or Telestream. They all do a comparable job on the footage provided the specs are done well.
If I had to guess as to your latest problem, I’d assume QT as the culprit. It’s a notoriously bad way to preview and playback files (gamma issues, pulldown problems, etc). I would check it in some other players to verify (MPEG Streamclip, VLC, Cineplay) or bring it back into Premiere and see if it’s showing up there as not completely fading out. If so, you can add a frame or two of black to the end of your spot in your NLE of choice before exporting out.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
AME is only a computer program and will only do what you tell it to. No more, no less. I don’t think Adobe “has a problem with AME.” The software works fine…so let’s see if we can’t manipulate your settings to get a better overall product.
Why do you have quality set to “80” with AME? Of course it would come out softer if you tell it do anything below 100.
What’s you’re keyframe rate set to? Typically it’s half your frame rate.
Are you doing CBR or VBR? If VBR 1-pass or 2-pass? If overall file size is a non-issue then go with CBR as it’ll use all 5mbps to encode the picture. If you need to keep your overall file size down go with a VBR. 2-pass will take longer but typically comes out better looking than 1-pass.
Also, is there a reason you’re using a Quicktime wrapper with the h.264 codec? Just curious. Have you tried using the h.264 codec in a mp4 wrapper? That will also provide you with more setting to tweak the output of your file.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Mark Suszko] “Assuming the 40K is after taxes and etc. are taken out”
I’m curious what leads you to this assumption. All jobs we post in my corporate environment, and all jobs I’ve applied for post pre-tax salaries. My assumption when I read that is $40K is before taxes…his/her take home would be $30K-$35K depending on withholdings, outside gigs, and the money they make from customizing skateboards! 🙂
Still a livable wage for an energetic early-to-mid 20-something looking to grab the world by its tail, but with decidedly less money to “make it rain” in da club!
My experience is not universal so you may be entirely correct in your assumption. I just have not experienced that in my circles…
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Andy Field] “(FCP7 or Premier exclusive editors need not apply)”
This type of language in a job posting always strikes me as strange. I know they are a FCP X facility, and the candidate that would be most comfortable fastest is an editor who knows and uses X already…I get that. From that standpoint the language makes sense. However, I do all the hiring and firing for my team and while we’re exclusively a Premiere Pro CC I don’t consider that the bar for which I determine whom I hire. In fact, I just hired two people who are (were?) FCP X editors and now they’re working in Premiere. Does that mean they have some transition time? Yes. But a good candidate is more than which NLE they know.
The NLE is a tool. It doesn’t define the artist. It doesn’t make the story compelling. It doesn’t know when to cut. I’m more concerned that the candidate understands rules of composition and cinematography, timing, color theory, lighting, and sound then I am with whether they know how to trim using Avid, Adobe, or Apple. It seems like you could lose out on a lot of great candidates by simply saying, “unless you know (fill in the blank software) we don’t want you.” If I had taken that approach many of the people who work for me today (who I think are rock stars) wouldn’t be working for me.
Maybe I’m crazy….just my $.02
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
This looks like digital noise. As Blaise stated above, rule out that it’s your system doing it (sometimes can happen with the GPU).
I’d run some tests with your camera and see if you can reproduce the problem. I’ve had this happen before to footage and usually it’s just a hiccup that happens. But you should run some tests with your camera to verify that it is or is not repeatable. If it is repeatable then you should send it in to Canon for some repair work.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Austin shelton] “Oh and more thing. I mostly edit everything in After effects. I cut and apply effects in one go. Is there a better workflow? Anything to increase the speed of editing.”
Yeah…use a NLE to edit, not a visual effects/motion graphics software.
Edit in Premiere Pro, vfx shots go to After Effects (you can use Dynamic Link if you’re using CS6 or later), come back to Premiere with finished shots and apply any finishing touches, export final product out. Premiere Pro is built to be the hub that everything goes into and then out to – After Effects, Speedgrade, Photoshop, etc. AE is not meant for editing, and playback in there is lousy for editing.
Proxy workflow requires that you transcode all your footage to a simpler, easier to use codec, typically this is DNxHD36 or ProRes Proxy. But that means that you’ll need to store both your masters and your new proxy files (increasing your storage costs). You can search the Cow and find plenty of threads about this workflow:
https://forums.creativecow.net/thread/3/956122Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
It’s the rolling shutter that you’re seeing. Nothing is wrong with your camera. This effect typically happens when your shutter speed settings and your lights start to conflict with each other. In most (well lit) scenes they appear as brown lines. In a dark environment like yours, they can appear as black bars.
Example of a GH2 doing the same thing (look for the brown lines):
https://www.youtube.com/watch?v=iTk07NWlW2ULinks to read up on rolling shutter:
https://dvxuser.com/jason/CMOS-CCD/
https://www.red.com/learn/red-101/global-rolling-shutterRyan Holmes
http://www.ryanholmes.me
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ML is just a firmware that you run when the camera boots up. You can chose to run it or not. However, you should do some research at Magic Lantern’s website to make sure that’s the case with the your camera, Canon 60D. I run a 5D Mark III and the ML hack lives on a SD card that we can leave in or take out at will. The 60D may or may not be different.
You can use ML for stills and video if you want. Because you’re camera already shoots RAW stills there isn’t much benefit for Magic Lantern on the stills side. It’s mainly aimed at RAW video recording.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Kevin Kunze] “Intel Iris Pro Graphics and NVIDIA GeForce GT 750M with 2GB of GDDR5 memory”
Are you buying a MacBook Pro or a Mac Pro? Big difference! 🙂
A NVIDIA 750M is a mobile graphics card (hence the “M”) meant for notebooks or lighter weight machines, like a MacBook. If you truly plan on doing 4K I’d follow Joseph’s advice above – check the configuration guide and build accordingly. Most laptops, even high end new ones, are going to have a hard time decoding 4K in realtime (and you also need to look at the speed of your storage array to serve of up 4K files without dropping frames).
If you’re really concerned about smooth 4K, then a desktop solution is where you’ll need to look.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost