Tim Kolb
Forum Replies Created
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There are some relatively straightforward methods of tying in an accurate transcript to the speech recognition function…
Better all around…here’s the Adobe help section on it…look at the section on reference scripts.
https://help.adobe.com/en_US/Soundbooth/2.0/WS29F692D2-7A49-44db-A109-AE016B766767.html
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Did you import the footage using the Media Browser?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Depending on how long it is…you could render it to a master format like CineForm or ProRes at 23.976 and then bring it into Premiere Pro as a clip and interpret it to 24.0 and output it if you feel that is necessary after your tests…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Your audio transitions is what you’re referring to i assume?
If so…sending stems is probably the easiest way to maintain transitions, fades, and volume adjustments.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Hmmm…good question.
The last time I had to deliver to National CineMedia standard, they specified 59.94 for some reason…it made for an unnecessarily huge file.
Each venue has a delivery spec and if you haven’t been furnished with that. I’d ask for one before you make any decisions of framerate, codec, etc…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Is there a reason not to export 23.976?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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The older Canon DSLRs did shoot frame rates that were even numbers before software upgrades came out for those cameras, but now many DSLRs including Canon may quote frame rates in whole numbers, but actually use the technically correct frame rate. (59.94, 29.97, 23.976 as opposed to 60, 30, and 24)
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Ivan Myles] “One out of every 1000 frames will be dropped, which should not be noticeable unless it is high motion footage”
…true only if the footage is interpreted to a framerate that isn’t identical to the sequence framerate.
When you interpret the footage, it simply runs all the frames at the new frame rate. If you have a 24 fps clip that is 1000 frames long, it will include all the same frames if interpreted to 48 fps, it will just run twice as fast and appear on the timeline as half as long.
The key is understanding the relationship to the sequence settings. If you take a 24 fps clip, interpret it to 48 fps, and then place it in a 24 fps sequence…yes, you’ll only see half the frames.
This is where so many of us have the luxury of shooting 720p59.94, and simply interpreting it to 23.976 in Premiere Pro for effortless 40% smooth slow motion in our 23.976 1080p projects (scale the 720p up of course)
With the 23.976 footage mentioned, Premiere Pro doesn’t “auto-interpret” anything, so if the footage comes in as 23.976 fps, that’s the flag that’s on the media. If you take 23.976 fps footage and place it on a 24 fps sequence, or vice-versa, you will see a frame dropped like you mention. If it’s 24 fps footage on a 24 fps sequence, or if they’re both 23.976…even if the clip is interpreted to the frame rate in question…no frames will be dropped at all…they just run at the new speed.
All that said, there was a timecode utility of some type that FCP users used to use a lot with DSLR footage that actually rounded 23.976 to 23.98 timebase…and that has occasionally created some timecode mismatches in Premiere Pro as unlike FCP7, Premiere Pro doesn’t round to 23.98 when you specify 23.976 fps .
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Mike Kelland] “Adobe need to rethink how the yellow bar works: yellow should be like how FCP7’s light green and dark green worked – i.e. will ALWAYS RELIABLY playback without stuttering or audio glitches.”
Yeah…the rub here is that FCP just took anything that wasn’t a dead-on match for the sequence/codec and just rendered it.
Adobe’s software can only understand so many things about the system…it can’t account for drive speed or fragmentation…it doesn’t know what other software is running…and it doesn’t know at what point the timeline playback will be stopped and rapidly started somewhere else with little time in between. All those things affect playback.
FCP could be so definite because…let’s face it…many effects and clips that didn’t match the timeline needed rendering. Premiere Pro is designed to utilize the system to just play everything…and give some warning if there is a question whether or not it can…but to play out to the maximum extent that it can.
Macs that were fine FCP7 machines may or may not be good Premiere Pro machines for exactly this reason.
With QuickTime still being 32 bit (even on Mac, legacy QT code for some codecs is still necessary as I understand it), I’m betting the yellow bar is more indicative of some processing overhead involved with that adaptation whereas the Avid DNxHD MXF encode/decode is 64 bit and not dependent on QuickTime…hence no yellow bar.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Maybe I’m not understanding something…
Is the hole in the green screen in the middle of stuff that all needs to key through?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor