Tim Kolb
Forum Replies Created
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23.976p and 29.97p can be exported to 29.97i easily. (It’s my television commercial workflow). Broadcasters care less about the look or aesthetic and more about the file specification.
Deinterlacing interlaced footage usually has a price to pay in image clarity as even if you are blending the two fields vs just completely dropping a field, motion starts to get a bit odd.
These days, I don’t know of many shooters outside of broadcasters themselves (and even some of those) who don’t shoot everything progressive and output progressive/interlace as needed.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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The Adobe instruction refers to duplicating keyframes on the same clip, not from one clip to another.
What happens if you go to the Effects Control Panel on the original clip and select the -property- (volume, motion, etc) and select ‘copy’…and then go to the Effects Control Panel (click in it to give the panel the focus) of the destination clip and paste?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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AME CS6 uses CUDA when you are originating from a PPro sequence the same way PPro does. It uses CUDA for transcodes not involving PPro in CC.
AFAIK, Red Giant software uses primarily OpenGL for pixel draw acceleration, but is primarily CPU based. Adobe can’t change a third party’s coding.
Keep in mind that an actual test of GPU acceleration over CPU alone, you would need to check the “max render quality” box when using the CPU as it’s always on when GPU acceleration is on.
(You can keep it checked for both tests if you question whether or not this rings true to you, and you’ll likely find no change in the CUDA render times…but the CPU times will become glacial.)
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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I haven’t.
The guy behind the software was introduced to me by an Adobe staff member at NAB, so I haven’t had much extra time yet.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Another option I looked at at NAB…available now, and costs 50 USD…
https://www.miraizon.com/products/codecsoverview.html
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Unfortunately I don’t know that there is an elegant way to view color channels in Premiere Pro.
I use an effect called “DE Channel Viewer” in Digieffects Delirium to do this.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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What version are you using? In CS6 the title “master” remains and is the source for every instance on the timeline…in CC, any “copy/paste” operations creates a clone or new “master” document…
It can be confusing for experienced users, much less someone trying to get used to the entire program…
Some more detailed step-by-step info would help us troubleshoot.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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I think that old Photoshop lighting effect has been neglected (and should probably just be deleted) for some time.
Most people might use color correction to change contrast or key/fill ratios to some degree, but there really is no practical substitute for just lighting it correctly when you shoot it…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Benchmarks are hard to use as a guide, but keep in mind the data has to get to the GPU and be routed back…all that takes system power.
If the CPU is maxed out…chances are pretty good that the GPU is waiting around for frames.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Dropping 25p material onto a timeline that has another frame rate shouldn’t actually result in a length change as a 5 second clip should be 5 seconds on any frame rate timeline…the material would not be a frame-for-frame match as the mismatch would result in frame interpolation…but the length should be the same within a couple frames.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor