Tim Kolb
Forum Replies Created
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I think more detail is in order about what it is you’re doing and how you’re viewing the video to determine the quality…
It sounds like everything is NTSC DV widescreen…
Lower field first interlace is standard for that format.
Does everything look completely good in AE and completely bad in Premiere Pro?
Are you using the Premiere Pro program monitor panel to determine this? Does the video look correct in paused playback? if so, do you have the Program monitor set to full quality?
There is some bit of info missing here, but I can’t quite put my finger on what it is…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Yes.
There are RGB video formats, but they’re definitely not the majority as RGB makes a larger file for what is (perceptually for most viewers at least) an image of apparent equal visual quality.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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[Daniel Waldron] “If you hover over the “Use Previews” checkbox in Premiere, it states it is only applicable for sequences exported from Premiere, so apparently AME doesn’t use the previews. “
This refers to using a Premiere Pro sequence as a source…in either the direct export mode, or in the queued Media Encoder interface. Sending the sequence encode job to the queue should not make any difference in whether or not the previews are used when the box is checked.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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RGB Levels would be more appropriate to consider for RGB media…
Rec 709 is appropriate for broadcast masters. Your source material is Y’CbCr, not RGB…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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Walter said it as far as 10 bit vs 8 bit. Much of the footage I work with is shot at 8 bits as well, but my master clips are all 10 bit CineForm.
As far as Avid’s bitrates…I can only surmise the same as you…though with color precision math, sometimes a file structure has some ’rounding room’…some 12 bit formats actually live in a 16 bit file because it’s easier math to process and therefore faster to run… However, I don’t speak for Avid, I have seen where this has been done with the math on other codecs and image processing tasks.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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It sounds like you have 1080 media on a 720 timeline?
The easiest way to get the grade layer to stay ‘stationary’ is to assign the adjustment layer it’s own scaling value…other than 100.
If you set the adjustment layer to 101…the layer should stay full frame and not follow the underlying clip’s motion properties.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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You can buy Motion for 50.00 USD and get ProRes.
DNxHD behaves somewhat differently depending if you’re using the QuickTime wrapper, or if you have Premiere Pro CC and have the MXF wrapper available.
For DNxHD, I typically recommend as high a data rate as you can store… Keep in mind that if you’ve done any color correction, exporting to a 10 bit color precision profile will maintain those changes somewhat better…
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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have you tried an export without the “use previews” box checked to see if there is a difference in export times?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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All I see other than some visuals that aren’t particularly family oriented is some color correction…is that what you’re referring to…?
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor
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All I can think of is the summing…
I assume there is sound in the earlier segment that “sustains” some level into the later point you were starting from.
You may have a pretty difficult time adjusting each source to create a peak collectively…you could normalize each source separately to achieve the same peak, but when sources are combined the levels will start to interact.
TimK,
Director, Consultant
Kolb Productions,Adobe Certified Instructor