[Tim Kolb]

Is there some interlacing issue?

Do you have a mismatch between the footage and the sequence where one is progressive and the other is interlaced?

Is it possible that the ProDad stuff defaults to one or the other when interacting with the Boris Effect?

I don’t have any ProDad stuff. I’m not familiar with it at all. Is it something you can try to duplicate with another tool and see if there is a similar interaction problem?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’m surprised you don’t have more issues using smooth tone this way…

Smooth Tone is a great effect, but it needs to be applied to each source clip to work properly. With a master edit clip changing all the time, it has to try to smoothg varied images and it’s trying to ‘smooth’ your transition, creating some odd artifacts.

I suspect you apply the Smooth Tone effect to the source clips and you may see the issue go away.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

If you want to work with proxies smoothly, you need to set you sequence to the framesize of your proxy clips.

If you need to crreate titles, etc… I would create a sequence set up for your “finish” framesize and nest the proxy sequence in it and scale it up.

You would need to copy/paste the proxy clips into another sequence at the finish frame size anyway so they can be replaced with the “online” footage, and then you replace the proxy nested sequence with the online sequence and it’s
done..

Of course CineForm NeoScene is only 129 bucks. It seems it may pay for itself rather quickly.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Do you need to integrate this material with other stereo material?

You could simply nest the material in a sequence with stereo masters and the out pu is stereo… Even on a master sequence where your master output is stereo, all you need is a mono track that your mono material can exist on… It will still come out in both master stereo channels.

Premiere Pro has a lot of ways to work around audio issues.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I assume you used the Main Concept package for the GFcam support?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Hi Alex…

Quite right that the 590 is 2 580s and PPro will utilize “half” the card…I just verified it with Adobe.

I got going on the power consumption thing and got carried away…I use AE and Photoshop enough that I tend to think with some duality…and the ability to drive more display heads with one card is appealing as well.

I tend to think of VRAM and regular RAM like L1 and L2/3 cache…a little more L1 often gives more boost that substantial L3…

I don’t really know how they’d compare in a test as the rest of the cards aren’t really equivalent either and it would be difficult to isolate this one spec enough to compare.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

The other set of considerations center around your system’s ecosystem…what kind of a team player do you have…

The RAM is DDR5 in all the cards in the discussion…even the GTX590, which is the newest and baddest card at the moment with its insane memory bandwidth of 327 GB per second, has DDR5 RAM, but it has 3GB split between the twin GPUs.

The GTX580 and 590 are double-wides. You need one slot to install them, but you’ll lose two…the Quadro 4000 is a single width card. Maybe not a big deal with one CUDA card, but I have two (four displays) so two double-wides blows away four slots for me…

The Quadro 4000 has a max power consumption of 142 Watts…

The GTX580 is rated at 244 Watts, and the 590 has a max draw specification of 365 Watts! At more than 2.5X the power draw of a Quadro 4000, you’re using 70% of an 1100 Watt power supply to run two 590s at full steam in SLI mode before you factor in the rest of the computer…

The power is there, and it’s great, but keep in mind that there is a reason why the heat radiators on some of these display cards look like they came out of a race car…they draw power and produce heat.

If you live in a cold climate, you could position the machine next to a cold air return and probably save yourself some heating costs.

So…lots of relative differences and considerations involved and what motherboard you have, workstation cabinet you plan to use, what other peripherals will require slots, and how quiet the area where the workstation is running needs to be if you plan on strictly conventional air-cooling.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Any changes you make to a “crawl” document should be reflected the moment you close the title designer interface…

Some more specifics are likely in order.

What specifically do you need to do? What are the steps you’re employing? What result are you expecting that you aren’t seeing?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Did you recently update any drivers or the OS?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Will it export if you simply remove the end credits (as a test)?

Then…will a timeline with just the end credits export?

If no/yes, I’d look at the end of the 7 minute section instead of the credit clip.

If yes/yes, I’d consider what I’m using for a transition between the last P2 clip and the credits…maybe try forcing “Render Entire Sequence” then see if Media Encoder will get through it all. Perhaps there is a transition the Media encoder chokes on…there aren’t many, but I’ve discovered a few.

TimK,
Director, Consultant
Kolb Productions,