Shane Ross
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[raju bhai] “I am wondering when i transcode all these clips to prores, what should i set the project FRAME RATE at?”
29.97 Progressive. So 1920×1080 29.97p
[raju bhai] “On compressor where i am transcoding the footage to prores, in the Inspector there is a setting under frame size (1920×1080) called “Pixel aspect”. What should i select for this? Default? HDV1080i? square? other options there as well, not sure which is best.”
Don’t change anything. Choose the ProRes 422 preset and just go with it. Don’t change anything. ProREs isn’t HDV…HDV is thin raster or 1440×1080…and ProRes is full raster 1920×1080. DO NOT TOUCH any setting on the preset.
Shane
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Senior Editor on THE CURSE OF OAK ISLAND.
We are here, and we are working. ALL of post is working, some of production is working, although no travel for interviews or shooting is happening. At least with Oak Island, our shooting wrapped in November, and now it’s all post. But we are here, and continuing to work. No plans for the company to stop post nor some aspects of production. No plans to work from home, as we have so much footage it’s unrealistic to take home (120TB for one show alone, and more on another, and three more shows in post), and setting up a server to do cloud work isn’t a cost the company is ready to make.
BUT…us being editors, we are social distancing. Walk in, go to edit bay, close door. Contact via email and phone only. We clean our own bays at the end of the day. I’m home, or in my car, or at work. Period.
Shane
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[Robert Withers] “When I exported a project from FCP7 to Premiere using XML the stereo camera mic tracks converted from stereo to “dual mono.””
OK…that’s a translation issue. That won’t happen if you start a project in Premiere or FCX or Resolve. That is an issue because you converted projects.
[Robert Withers] “Can’t convert these back to a stereo track in Premiere.”
Nope, because how they do audio tracks is very different. FCP didn’t have a single track for stereo..it was always a stereo pair, but on TWO tracks…dual mono. Yes, you COULD export those two together as a stereo track, but only on final export. Actually, if you looked at the QT file with QT Pro, you’ll see that there’s two tracks, one for stereo LEFT, one for Stereo RIGHT.
PRemiere and Resolve…and even Avid…have the option for a SINGLE track to be used for stereo tracks. But you have to import the audio and then cut them into the tracks in the project. Converting from FCP…which had two tracks for the stereo pair, will make them dual Mono. ANd then you just pan then Left and right.
But I think these are two separate issues. Dealing with audio on the timeline while editing…Stereo SFX and Stereo music… but then the need to output to the specs you mentioned:
Our client asks an Apple Prores 422 HQ with this audio config:
– 5.1 SMPTE (in English)
– 5.1 SMPTE (in VO)
– 2.0 (Eng)
– 2.0 (VO)
– 2.0 (Music and Effects)Outputting those specs is easy in all NLEs…you get the final mix from the audio mixer…or you make them yourself, and then you drop them as individual tracks onto an output timeline. Exported QT files will still have two tracks for each stereo element…one stereo right, the other stereo left. Even if you output from Resolve or Avid or Adobe.
Shane
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You can change the track type at any time..make it mono, make it stereo. But I guess I’m not totally clear on the question. “…simultaneous filtering, editing of dual mono tracks…” You lost the abililty to do that in PRemiere? What is that exactly?
Shane
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I hear you…that was the really great thing about FCP 7.
Well, Resolve does exactly what you want…on the DELIVERY page. First thing you do, on the EDIT page, is set up the audio track type. You can set them to MONO or STEREO or 5.1. So set them to what you want to set them.
THEN, on the DELIVERY page, in the AUDIO TAB, you can switch from the default MAIN STEREO, to TIMELINE track. And add tracks until you have them all. It does exactly what you want.
Shane
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Nodes, for multiple levels of grading.
Power windows. The ability to track those power windows (power windows are areas on the image you can affect while leaving the area outside them alone…and it can automatically track)
16-bit or greater processing (AE might have that, not sure about premiere)
FAR BETTER control over the image…make subtle changes…or drastic ones…with better results. You have to try them both to see what I mean…you can be more subtle in your changes…where Premiere controls make the changes more drastic…more “touchy.” And you can push the limits more in Resolve…more drastic changes…while retaining image quality. Under exposed? Resolve can make it visible with better results that Premiere. MUCH better.
Far more grading interface options (curves, wheels, numerical, slider bars) that affect more of the color data parameters.
Built in image stabilization (no need to go to AE)
Built in Noise Reduction
Super-scale for scaling SD to HD…better results than PPro, and no need to go to AEIt is just a far better color correction app, as that is it’s main purpose. It’s an editor second. Where Premiere is first an editor, and second, has the ability to grade. Resolve blows the socks off Premiere when it comes to grading.
Shane
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I just happen to be missing it this year due to other reasons, so I didn’t even book anything yet. Glad that I didn’t. I’m wondering how much of a ghost town it’ll be. Normally I’m hired by AJA to be a booth jockey, but I’d have hard passed by now.
Shane
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I have to agree. The before image is a much better color. I’d perhaps tweak the blacks and highlights to lessen the curve to make the image pop more, but it looks more natural then the after ones.
Shane
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Like what? They all look the same level of grey. Can you press PLAY on the PROGRAM side and your timeline play? What aren’t you able to do?
Shane
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23.98 to 29.97 INTERLACED…easy. Pulldown added to blend in the fields of video. 23.98 to 29.97 PROGRESSIVE? Sorry, frames will be repeated, or blending will occur. You are making 6 frames up out of thin air (5 with 25fps).
Hardware converters will do a better job…such as Alchemist. And you can do some decent frame blending with After Effects, but not always perfect. Fast moves will make for odd ghost frames.
Shane
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