Tim Kolb
Forum Replies Created
-
I’m not sure what your question is…
Premiere Pro is certainly not limited to HD framesize as it’s been editing RED footage since CS4.
Where are you encountering this problem?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
Adobe keeps this stuff to themselves until they’re ready.
Once they’re showing “previews” though, it’s safe to say that it’s sooner than later.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
Yes…what your eye sees as saturation difference is likely the midtones ending up a bit brighter. QuickTime has had this issue for a very long time. H264 files in particular, don’t map properly.
If you export to an H264 file (not a mov H264 or MP4), and then play the file in VLC player, you’ll notice that the file looks right…play the same file in QuickTime and you’ll see the difference.
If you encode to a QT wrapped H264 file (a .mov), or if you just play an H264/MP4 file in QT player, the grayscale curve (the “gamma” curve) is interpreted incorrectly.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
It’s gamma? Mid range skewing a bit high for a milky sort of look?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
[Brian Nichols] “I added the name manually to both versions.”
Is CS6 actually using it?
If it meets minimum requirements, you shouldn’t have to add it to that text file for CC.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
The Nano will record a variety of file wrappers…mine is in a drawer around here somewhere and I need to look at it again, but I believe the wrappers were .mov, .mp4 and .mxf… Not certain if there are any limitations provided by data rate differences (is the mp4 wrapper available at data rates above 35 Mbits/s for instance…)
I’ve had a few things come up that make me want to fire that unit up again anyway.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
[Robert Brown] “Also in 25 years of editing, I’ve used 5.1 source tracks on one project so I’m not sure why they spent a lot of time trying to accommodate those.
“Yes…and a user who works with surround sound every day wonders why Adobe doesn’t make that the default configuration…each of us has our own typical workflow, and each of us need to come to terms with the idea that there are other workflows that are just as legitimate as our own. I might find a feature unnecessary, but for someone else, it’s critical.
There is training out there on how audio works in Premiere Pro…
The audio capabilities in PPro have been considerable ever since the “Pro” was added in 2003…and it’s been added to since.However, like any other NLE, it’s pretty hard to simply launch it and understand the overall approach by osmosis.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
If you’re using version CC, you shouldn’t have to add the name of your card to the text file if the card meets the minimum requirements…
If you’re using CS6, I was under the impression that adding the name of a non-white list AMD card (only two were ‘approved’) wouldn’t work…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
Ivan, your tests are with CS6, not CC.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
-
…did you have 2-pass VBR enabled?
There is a persisting bug in AME CS6 that affects 2-pass H264 encodes…if you did use 2-pass VBR, check your actual data rate/file size against your intended setting. Typically it’s smaller than the target…much smaller…hence more aggressively compressed than intended.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor