Tim Kolb
Forum Replies Created
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I’d add to Chris’s very good explanation that for the best experience with high bit depth editing, a custom sequence setting is helpful as you’ll have better access to options for preview render formats, etc.
In CS5, a 32 bit float sequence will be truncated to 8 bits with the use of any 8 bit effect on any one clip…in CS5.5, Adobe improved the intelligence of that process so that it will use 8 bit where forced to and will use 32 bit float where it can if the sequence supports it.
(Keep in mind that 8 bit effects also convert their calculations to RGB if there is no “YUV” symbol beside the effect in the list.)
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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P2 structured media (DVCProHD was on P2 first…) has run quite easily in PPro since CS3.
The file structure is no problem as long as the user leaves the MXF media file structure as is and doesn’t start re-organizing things.
Adobe Media Encoder can even create Panasonic P2 card compliant MXF files as an output. I’ve created DVCProHD P2 files of media that may be of a format that another production company either can’t use, or more likely, just has very little experience with…
P2 MXF media runs like butter in PPro…CS5.5 is the fourth version to handle it and it worked very well even back in CS3.
Keep in mind that AVC Intra isn’t as taxing as AVCHD (as an example) to playback because it’s an I-frame codec, but having a solid workstation (as you would for a professional FCP or Avid system) is still (IMO) required for responsive operation.
TimK,
Director, Consultant
Kolb Productions, -
Everybody here is certainly trying to be helpful, but the bottom line is, yes you are grossly underpowered to run PPro CS5 with H264 media.
8 GB of RAM is the minimum that I recommend for any HD work, and one Quad core Xeon Hyper-threading processor is what you’ll need to feel like the machine is at least keeping up with you.
Having a CUDA card is great, and it does a lot, but since your machine is choking on just getting the frames decoded in the first place to just get playback, the CUDA card is undoubtedly standing around waiting on data.
If your CPU can’t even run the video at full rate, accelerating the effects is not even really possible.
TimK,
Director, Consultant
Kolb Productions, -
What is the nature of the file? Is it a simple clip showing two frames…or is it muxed eyes?
Do you have the production-quality file? Chances are pretty slim that anything in a Windows Media File is un-muxable.
TimK,
Director, Consultant
Kolb Productions, -
[Sarika Mirchandani] “I was looking for some kind of script or so for after effect to extend the composition duration past 3 hrs. “
Um…you may consider using a video editing application instead of a compositing application.
AE is not really designed to handle documentary-length operations…
What exactly are you attempting to accomplish?
TimK,
Director, Consultant
Kolb Productions, -
When you use the razor…the audio track with the clip’s audio has the focus right?
When you ripple-delete, you don’t end up with a +/- timecode number on the clip on the timeline indicating that it went out of sync?
When you listen to the sequence in playback after you’ve razored and rippled…the audio is as it’s supposed to be? The problem is only after export?
TimK,
Director, Consultant
Kolb Productions, -
Top right of the sequence window…panel menu.
Check “Audio units”
Your timeline will now move/cut/etc you audio in sample or miilisecond increments depending on how your prefs are set…and the scrubbing will be what you hope for I think…
TimK,
Director, Consultant
Kolb Productions, -
Can you be more specific?
Import the clip and cut off a minute…where? Sequence? Source Window? set an in point…or trim it off on the timeline?
Save what file?
Export it from where? Do you choose “in to out” or “work area”? Do you set them before you export?
TimK,
Director, Consultant
Kolb Productions, -
🙂
There are a lot of things that only PPro does…
That’s why I use it.
TimK,
Director, Consultant
Kolb Productions, -
Checking “use previews” will definitely speed up encode time, but keep in mind that the timeline preview is likely set at MPEG2 I-frame (which is what PPro CS5 uses as it’s default preview render format for any screen size).
Depending on what video format you’re using, etc…some users would rather the Media Encoder use the original footage and process all the effects on the timeline, etc. as it does one transcode directly to the desired export format, as opposed to first “rendering” to a preview format like MPEG I-frame and then making another MPEG 2 pass on that based on your desired Media Encoder target.
All that being said, I’ve run into situations where a particular set of effects befuddles Media Encoder and it re-executes them improperly (or, in the case of some third party plugins in the early days of CS5, doesn’t execute them at all…) and the best way that I found to solve the issue was to simply render the timeline and check “use previews” in the Media Encoder.
…so it will definitely be faster, it’s just important to understand why that’s the case for ongoing reference in my opinion.
On the “media offline” issue… I don’t think you’re seeing a problem. Adobe changed the load behavior of PPro based on lots of input from many of us who had large projects and when we opened them, the “project loading” thermometer would pop up and sit there until all the media had loaded, but since nothing visual was happening, many of us couldn’t tell if we had locked up or crashed…or we were actually loading.
With a big enough project, you could be sitting there with a sinking feeling in the pit of your stomach for 5 minutes and then….(whew)…the project presents itself. All was probably fine, but it felt a little too precarious when a user feels, possibly irrationally so, as if they’ve dodged a bullet every time they start a work session.
I think this exact irrational fear of the application seeming to be lethargic on loading was a significant portion of PPro’s somewhat undeserved reputation for not being able to handle large projects.
TimK,
Director, Consultant
Kolb Productions,