Tim Kolb
Forum Replies Created
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I think if QuickTime supported the codec without FCP, Premiere Pro would read it. Most of these limitations are actually QuickTime-borne…
TimK,
Director, Consultant
Kolb Productions, -
Ah…true.
One caveat…any “photoshop” type composite mode in the motion dialog other than “normal” takes the entire timeline down to 8 bit RGB if you’re working in a high color precision sequence setting. This would also apply to any effect not marked with the “32” lego block in the effects menu.
TimK,
Director, Consultant
Kolb Productions, -
Well…when you quote someone else’s encode times, you need to compare your systems. If you don’t know what that person’s system was, you have no way of knowing if the time you see is corect or not.
The CUDA enabled system gains speed over a non-CUDA enabled system when there are effects involved. That’s where CUDA picks up the slack. The decode and encode process of playing and transcoding footage is all CPU.
The person you quoted may have a 3 quad-core, multithreading processor Intel bit-crushing monster with 16 GB of RAM and you have a single proc quad core with 4 GB of RAM, I don’t know…
The point is that the CUDA card will help when there are effects…it takes those off the CPU so the CPU can dedicate itself to the decode/encode process. The configuration and technological advancement of the CPU in a machine is where the encode speeds are gained or lost.
TimK,
Director, Consultant
Kolb Productions, -
Well…playing 24fps progressive on a 60i timeline is, by definition, adding pulldown…that’s what pulldown is. You are taking 24 frames and turning them into 60 fields every second.
If your 24p frames are numbered: 1,2,3,4,5…
Your 60i Frames (field/field) would be: (1,1) (2,2) (2,3) (3,4) (4,4), etc…
When you remove a pulldown, you usually don’t want to do AFTER editing as what happens if you want frame 3 to be the first or last frame in a cut? Do you cut on the (2,3) split frame or the (3,4) split frame? Then, depending on how you’ve cut the piece, how will the software that removes the pulldown be able to figure out that you wanted frame 3 but not the single field of frame 2…or 4? Or, how does it create a frame from the single filed of frame 3 if you cut it short?
Editing in 60i and planning to remove pulldown from the edited master clip is really not a smooth road.
Most of the time you want the edit software to remove the pulldown immediately. I’m not familiar with the specifics of every small camcorder out there, and it’s been some time since I used HDV format material, but I’d explore ways to remove the pulldown from the material before you edit, and then edit on a 24p HDV sequence. The “Interpret Footage” menu (right click on a clip in the bin-Modify) used to have a “Remove DV pulldown” check box…not sure about HDV.
As you can see however, dynamic linking a clip on your 60i sequence to AE to remove the pulldown and then using the dynamic linked comp in your timeline is really circular. 24p footage placed in a 60i stream is what you have in your footage…and you’re undoing that and then re-doing it by putting the pulldown-removed 24p clip back on a 60i sequence.
TimK,
Director, Consultant
Kolb Productions, -
Keep in mind that digital levels don’t register certain levels in the same way that analog will. The reason for the lower digital levels is that you can set digital peak for zero, but there will still be analog peaks above zero in many circumstances.
I typically set digital tone in PPro to – 12… I try to generally keep the audio levels there as well. When I have to make an analog recording to beta sp for instance, I’ll set the record deck to tone at 0. Any levels that create spurious peaks for analog that didn’t register for digital seem to be handled by analog headroom…
For many digital delivery specs, I’ve seen -20 specified. With digital, reduced level means reduced resolution so I tend to wince at actually delivering -20.
As is said around here quite often, your mileage may vary.
TimK,
Director, Consultant
Kolb Productions, -
Are the sequence settings for the “master edit” sequence different than the other two?
What if you make a new sequence and copy-paste the material into it?
TimK,
Director, Consultant
Kolb Productions, -
You may find that the luma key now is closer to the old screen key.
The screen key (as well as multiply) had been broken for at least two releases before they were eliminated.
TimK,
Director, Consultant
Kolb Productions, -
While I’m not sure if this is exactly your problem with seeing the footage, you ARE taking footage with pulldown…removing the pulldown…and then putting it back on the same timeline…
…where the settings, if they are (I assume) 60i, need to reintroduce a pulldown in order to play it back.
You need to either remove the pulldown from everything, or nothing or you’ll have continual issues.
TimK,
Director, Consultant
Kolb Productions, -
What sort of footage is it? 24psf doesn’t necessarily have a pulldown…
It depends what camcorder or recorder you recorded on.
Also, what sort of sequence are you editing on? If you were originally editing with pulldown (60I for instance), the sequence won’t be the ideal setup any longer…
TimK,
Director, Consultant
Kolb Productions, -
[Areful Eeslam] “Now if you kindly suggest me what more i can do to achieve accurate result of my work, should i get a broadcast monitor for post.”
Well…I think I did suggest an outboard box that would feed a broadcast monitor… I’m not sure what you’re looking for here. “Should” you get a broadcast monitor for post? I think I answered that…ideally, yes. What I’m hearing back is that is improbable so you’re asking me to assess how well the job can be done with a laptop monitor…answer: not as well as a broadcast monitor.
Again, is it possible that you’ll end up with a serviceable product if you color correct on a (hopefully calibrated at least) laptop monitor? Sure it’s possible. Make some tests and determine how what you’re seeing plays out to a broadcast system later, and do your best to take that into account during the grade.
What I would say is that you may not be overly pleased with the capabilities of either CPU you mention to playback DSLR footage. It’s highly compressed and very complex to decode. Big CPUs with as many cores as possible will be very beneficial.
TimK,
Director, Consultant
Kolb Productions,