[Tero Ahlfors]

[Helen Cho] “I recall it being an issue in the past, where reel names would be truncated in the EDL, but was wondering if it’s still something to be concerned about.”

Are EDL’s a part of your post workflow? Are you creating your own reel names? The CMX 3600 standard for EDL’s use 8 character reel names and if I remember correctly the newer pro cameras create 8 character reel names.

[Tero Ahlfors]

[John Smith] “@Tero, how? Details please.”

https://helpx.adobe.com/premiere-pro/using/trim-or-copy-project.html

[Tero Ahlfors]

You could use the project manager.

[Tero Ahlfors]

Do you have another GPU you can test? That one is ancient and doesn’t have enough VRAM for Resolve (if it is the 512 MB one).

[Tero Ahlfors]

Depending on the situation/camera/camera settings/someone’s mom it can be a combination of both. Rolling shutter can be manifested in other ways than smearing images during fast movement.

But the actual point that one should learn is: No one cares about camera gear slapfights on the internet.

[Tero Ahlfors]

If you add effects in the audio mixer the effects are track based not clip based and if you put an effect on the master track it will affect everything. These are useful for adding effects to certain submixes and loudness monitoring submixes/master mix using the loudness radar effect. If you want to add an effect to a single clip then drag it on the timeline.

[Tero Ahlfors]

You can try and guesstimate what’s happening by trying this:

-Generate some test bars in Premiere. New item – HD bars and tone.
-Check out how it looks with all the Lumetri scopes visible. It should look pretty clean and the vectorscope zigzags through all the colours.
-Render the bars out in the formats you want to test.
-Bring the exported clips back and compare them to each other and the original generated bars.

You should see some differences. Depending on the bit depth/chroma subsampling/other stuff there’s probably noticable differences in the brightest saturated areas. Also the brightly saturated areas might be blending into each other a little bit so there’s no clean line like in the generated version.

[Tero Ahlfors]

720×480 is not 16:9 in a square pixel aspect ratio.

[Tero Ahlfors]

DNxHD or Prores. Both can be played back on Windows and Mac but Prores can be only exported on a Mac.

[Tero Ahlfors]

[Duke Sweden] “I refuse to believe that you guys, who do this for a living, choose to live with this.”

Setting up/managing a color pipeline takes skill, gear and time. I have a pretty expensive reference monitors new and software and gear to keep them calibrated with. Figuring out the formats to keep our masters looking same between players and operating systems was its own adventure. If you are concerned about color accuracy and don’t have a proper color pipeline (note that this does not have to cost tens of thousands of eurobucks) set up then it doesn’t matter one bit what you think you’re seeing between codecs. When I do homevideo stuff at home I don’t care and I only do an eyeball calibration on my displays, but when I’m actually for realzies doing a job for a customer then I do.

Here’s an article from Lightillusion: https://www.lightillusion.com/why_calibrate.html

There’s also the Lift Gamma Gain forums for talking about grading stuff. It’s a tough crowd, mind.