Tim Kolb
Forum Replies Created
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You may want to check the H264 files in VLC…and, for the record, are you exporting H264 files with QT wrappers or as mp4?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Standard red laser DVD is standard definition and uses Mpeg2. To know whether you’d need more than one disc, you would first have to export your program as standard definition Mpeg2 (there is an Mpeg2 DVD preset in the exporter.
Theoretically you could author once using the source media (not the mp4 you exported) and switch it from DVD to BluRay, but there are certain authoring features that aren’t common between the two formats, so it might be simpler to just create two Encore projects if you are uncertain.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Are you saving the RMD from REDCINEX? PPro should pick up those changes.
Out of curiosity, if you right-click on an R3D clip in the Project Panel and choose “Source Settings” you’ll pop up PPro’s Red Metadata editor…not quite as sophisticated as REDCINE, but very functional…and you can save the RMD once you make changes in PPro and then load the clip into REDCINEX and you should see the changes you made in PPro. It would be a test as to whether PPro is seeing and altering the metadata from its end anyway…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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ProRes runs on Windows.
I know that Premiere Pro expects to see 4 audio tracks on P2 media, etc… I’m not sure how ProRes structures those tracks in the QT file.
If the files are configured in such a way that PPro sees two stereo tracks, you can try modifying the clips in the bin and set the stereo audio to dual mono…or if that doesn’t work, try to set your audio preferences to import stereo as dual mono and re-import the media and see if the tracks all show up.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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It doesn’t sound like it’s anything you’re doing from what you’ve said thus far…
Have you attempted to relink the offending file?
Can you clean the media cache in preferences-media? (I’m on CS6-CC, so I don’t recall if that’s where it is in CS5 or not…)
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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If the issue is only with one file, (I assume you’ve tried re-importing it?), I would start to wonder if there isn’t something slightly wonky with the P2 file itself.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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As a matter of fact, yes I have (not the DV thing)
The Media Browser does work to import folders, so that’s the workaround for the moment.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Dan…what do you mean by “preview setting” being 1080p?
Keep in mind there are a wide variety of RED settings…support for all sizes and framerates. You may have chosen the correct frame size, but what about framerate? What are the spec on the clips you’re importing? There are 23.976 and 24 fps specifications, and Premiere Pro (rightly so) does not consider them to be the same thing. So…even a framerate incompatibility between the media and the timeline will cause that warning to come up.
You want to verify which framerate is the correct one for your project…if some portion of the raw footage was created using the wrong framerate, you don’t necessarily want to conform your whole edit to it.
The “custom” thing is Adobe’s typical timeline conform designation if it can’t match a preset… If there is a compatible preset, it chooses it alphabetically believe it or not…if you conform something to 1080p media, it used to always say it was “AVC-Intra”…now it says it’s “ARRI” since it was added and now comes before AVC-Intra in the alphabet. For 1080i, it will still say AVC-Intra…whatever is the first compatible preset in the list alphabetically…simplification that actually adds confusion.
This is confusing for new users who don’t realize that Premiere Pro specifies a sequence with three items…frame rate, frame size (pixel dimensions), and pixel shape or PAR (square, non-square, etc). Since Premiere Pro is codec-agnostic. The basic settings of a 1920x1080p23.976 sequence are fundamentally the same whether it’s an AVCHD, or DSLR, or XDcamHD422, or whatever the format name is (other than the settings you can modify like the preview format, timecode, etc which can be different or user-defined)
The codec itself doesn’t matter…if it’s on the machine, PPro uses it.
The key time these sequence settings matter is in the case of codecs that can be used for “smart rendering”…so if you want a DNxHD (among others…) sequence that preview renders in DNxHD and then you can export DNxHD very quickly by skipping re-compression when the parameters are consistent.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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What are the sequence settings you’re using vs the video settings? (frame pixel dimensions, etc.)
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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My first question would be whether this happens prior to changing over to Mavericks?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor