[Tim Kolb]

It sounds like you’re doing it right…

You couldn’t change the trancode target from AAC audio?

I can get all my transcode options to come up on my Windows system…not sure if it’s somehow different on Mac?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Adobe’s RAM minimums are above 512 MB…but i don’t see why it wouldn’t work in CC if it worked in CS6…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

If it’s a ProRes sequence and you have it set to generate ProRes previews…can you try to preview render the portions of the timeline where the titles are (or render the whole thing if it’s short) and then try exporting with the “use previews” box checked?

It’s not a solution to the issue, but it might get you operational…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

How are you bringing these clips in?

This behavior makes me winder if you’re loading the AVCHD file properly as if you dig down to the specific mts file, lots of metadata is getting bypassed.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Michael Kammes] “What would be the best way of exporting a “same as source” clip, short of manually transposing clip properties to the export window?”

If this is specific to ProRes, I would think you’d want to test it after you make a sequence setting that’s correct as the “match settings” may get it right…otherwise you can set up an output profile preset in AME so you wouldn’t have to do it manually more than once.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Premiere Pro’s ability to “detect” what codec is in a QuickTime file for purposes of creating a sequence just doesn’t seem to work.

If it’s QuickTime or Adobe…(it can’t be the OS as it’s done this on Windows for a long time as well), I have no idea, but it’s a well-known issue.

You’re best off manually creating a ProRes preset as Gerald did to properly configure your preview format, etc.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

What GPU is in the machine?

As long as the card meets some minimum spec requirements (RAM, etc) it should allow you to turn on GPU accelerated mode even f the card isn’t on the ‘approved’ list.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I’m guessing you had some sort of 3rd party card involved in these sequences? (AJA, BMD, Matrox, Bluefish444, etc)

Did you upgrade from a version of PPro that was older than v5?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I’d be inclined to try to determine if you’re bringing across some feature inherent in an FCP sequence that isn’t compatible with PPro, and perhaps it looks like it’s simply being rejected or not brought across, but it somehow affects the rest of the sequence…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[eric ewing] “Then I export with the “Vimeo HD 23.976″ setting, and change it to VBR Pass 1, and I bring up the Target/Maximum Bitrate to 10 … Then export”

The key issue here is that you call up the Vimeo preset…and then change it so it is no longer the Vimeo preset.

Try it with the preset the way it’s designed as that is supposed to hit their spec enough to prevent transcoding (though I can’t tell myself if it does or doesn’t transcode).

You’re also making the compression process less effective by dropping to one pass. The jacked up bitrate probably helps the image quality in lew of the second pass, but all these changes takes it far enough out of Vimeo’s spec that it ensures that Vimeo will transcode it again.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor