[Ryan Holmes]

Within AME what is your “Renderer” set to: Software Only, CUDA, OpenCL? If you have Nvidia graphics cards that are CUDA enabled use CUDA, if you have ATI cards use OpenCL. If these are causing problems switch to software only, which will most certainly take longer.

Also, try exporting from Premiere as well (don’t send it to AME).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

What’s the source footage type? What format/codec are going to? Do you have any Dynamic Link compositions in the timeline?

Have you tried exporting out of Premiere instead of AME? Does Premiere crash? Have you cleared your Media Cache?

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Matt,
There’s a lot of great information on the web pertaining to your question. What you’re starting to dig into is what’s called the 180 degree shutter angle rule. To boil it down to it’s essence the rule states that you for what we perceive as “normal” motion blur a cinematographer should set their exposure (or shutter speed) to twice the frames per second rate. So if you shoot 24fps your shutter should be at 1/48. If you shoot at 30fps your shutter should be at 1/60. If you shoot at 60fps, your shutter should be 1/120…and so on and so on.

Here’s a couple of links that will give you a good primer on the 180 degree rule. Start here and branch out on your own:
(1) https://en.wikipedia.org/wiki/Rotary_disc_shutter
(2) https://inventorspot.com/articles/how_choose_shutter_speed_video_your_dslr

Best of luck to ya!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

I see what’s happening now. Go up to “Format” and change that to h.264. That will allow you to make a mp4 using the h.264 codec (which plays on virtually every thing today).

Make a straight mp4 does have limits because it’s using h.263 as the codec, which is limited in resolution and will kick back an error message. So change over to h.264, and then set your parameters. Like I said before, you’ll need to be at at least Level 4.0 to do HD when making a h.264 mp4 file.

Hope this helps!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Easiest solution is to run a 3.5mm cable from your Zoom to your DSLR. That would pass audio cleanly and easily from your second source to your camera. If the camera is close to your talent, you could just run the internal mic of the DSLR. That should be enough to allow you to sync up in post.

It all depends on your needs and you budget.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Tom,
There’s a whole host of reasons why you don’t want to record audio on your DSLR – monitoring, level control, AGC (auto gain control), compression, etc. In my experience shooting DSLR you’ll always want to do second source audio (like on your H4N). The DSLR audio is really just scratch audio….something to sync up your H4N with.

Our workflow when using DSLR is always record to a second source audio, send a feed (usually wireless) over to the Canon 7D or 5D3 for scratch audio for the editor’s to sync with in post. In a jam the DSLR audio could be used, but the H4N will have such a better signal without AGC or low bit depth.

I would purchase PluralEyes and a way to send a decent signal into your 600D. PluralEyes is so fast now it’s not even funny. It’s a hassle for sure, but with sound being half the picture it’s just not an area I want to rely on a still-picture camera to control.

Just my $.02

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

The academic version is identical to the commercial version. The only difference is the EULA you agree to saying you can’t use the academic version in for-profit jobs.

You probably need to run the software updater and make sure they are both on the same version – 6.X.X. It’s not enough to simply have version 6, you have to have the exact same .X.X in order for files to be compatible.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

I think what Jeff said above is right. A good mezzanine codec that’s visually lossless would serve you best – ProRes (Mac) or DNxHD (Mac/PC).

Some people (myself included) use a very high bit rate h.264 file as an archive (bear in mind that this is not a lossless codec). And then that can be saved to a hard drive or burned to a disc for long term storage. It really depends on your needs, storage space, budget, etc.

The other thing to bear in mind is that any format you pick will eventually be replaced. So you’ll need to move your formats along as codecs update and change. Nothing is permanent in the video codec world!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Alexander Freedman] “Well, I’ve certainly learned from all this and I appreciate the guidance. I’ll just run the 60fps master through compressor to 24fps and, in the future, shoot at 24fps or 30fps.”

Fine approach. But if you want smooth slow-motion you’ll need to shoot at a higher frame rate than your timeline/delivery. That’s called overcranking the camera. So you shoot the scene at 60fps, but you play that back at 24fps which gives you smooth slow motion. If you shoot at 60fps and playback at 60fps you’re not gaining the advantage of over cranking. Essentially what FCP will do when you slow down your 60fps on your 60fps timeline is attempt to create in-between frames to “slow down” your footage.

Maybe this will explain better:
https://www.red.com/learn/red-101/slow-motion-video

Basic rule of thumb:
Shoot at 24fps, edit at 24 fps, deliver at 24 fps (or substitute 30 or 60 in there). However, anything that demands smooth slow-motion you’ll need to shoot at a higher frame rate than what you expect to edit and deliver in.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Michael Tiemann] “Could it really be that something I use to make monitoring behave in a way that I find rational could actually be causing *rendering* to behave in a completely irrational way?”

Yes. Yes it could.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost