Tero Ahlfors
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Forum Replies Created
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[Shane Ross] ” I’m hoping this is something you can do in Premiere Pro CC”
The multiple mono output was in CS6 but it’s a bit clunky because you need to set it up before you put anything in a sequence.
Here’s a video how-to https://vimeo.com/38237939
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[Jesus Vasquez] ” I checked the maximum render quality”
Well there you go. If you’re not doing any critical scaling to the export you save a lot of render time by not using maximum render quality.
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To answer your topic: The Casio high speed series. No, they’re not as good as a proper dedicated high speed camera but they can be bought for less than 300 bucks. The Sony FS700 will shoot high speed in bursts but the body is about 7000 euros and if you need a proper high speed camera the prices start from 10 thousand and go way up from there.
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[Nicholas Munro] “I want to NOT have to use a LUT adjustment layer”
Ummmm… Why not? I pretty much always work in the same color space as the footage and use a LUT etc to see how the effect is matching up.
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Even if it is 3K it has double the frames and probably a higher bitrate than the straight up 4K.
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I’ve made a bunch of 29,97p files for broadcast use. The channel requested it so it really depends on their specs.
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If you want to render out interlaced from AE you need to choose the correct field from the Field Render pulldown menu in Render Settings. Your job would be really easy with Adobe Media Encoder.
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Try de- and reactivating Premiere.
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It’s useless to offer alternatives that won’t work in their system.
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Try the Color Stabilizer effect.