[Tim Kolb]

I would just load the 720p120 footage into PPro and select it in the Project Panel and right click-choose ‘modify’-select the ‘interpret footage’ tab and tell it to ‘assume this frame rate’…type in 29.97 (or whatever) and you’re done. No AE…and moreover, no rendering needed.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Well…I edit 720 with 1080 footage and do the “2 composition” thing too. (I’m doing it today as a matter of fact.) I use “max render quality” in those cases and I think it does have a benefit, but it does take longer to output.

If it’s a bug, I agree it should be fixed…but I don’t have this problem, so I suspect there may be another factor? A particular plugin? A certain display card driver version?

Has anyone trouble shot this looking for common software/hardware components among those having the problem?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

It sounds to me like you’re hitting your ceiling on that system…have you edited 5K RED footage before…or 4K?

Your display card isn’t assisting you at all as it is not an NVIDIA card running CUDA and not a supported OpenCL card (AMD/ATI’s GPU application implementation) so you have your CPU doing all the scaling and color work involved in post decoding as well…

Keep in mind that the software RED decoder is single threaded, so it doesn’t matter how many CPU cores you have (I also have the dual hex 2.66s), you’re using only one core for RED decoding. A supported GPU picks up all the scaling and color conversion work at the back end of the decode chain, so it should free up some CPU capacity and allow it to focus on the video decoding and playback more efficiently.

I’ve been able to run a stream of RED 5K with a beefy CUDA card and no RED Rocket, but when you have a single threaded process, clock speed affects processing capacity and those of us on large core count/low clock speed machines will notice some limitations.

Seriously though…a GPU that Premiere Pro can actually use will help.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Good point…if you’re blown out, there isn’t much that can be done. I was under the impression the sun came out from behind the clouds and pushed the exposure a bit.

If faces are blown out…time to find a good excuse for a cut away shot.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I see… There are areas in the interface that do become less than optimally visible at some interface brightness settings I’ve noticed.

I tend to run it as low as it goes, and certain buttons and widgets do get a bit subtle.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

It becomes a keyframed color correction task…

Premiere Pro has reasonably effective color correction tools, but Colorista 2 from Magic Bullet is probably where I would turn for this…the exposure/density controls are a bit more intuitive for this sort of correction than simple gain/gamma/lift…

The free version of Colorista 1.0 may be enough for this (though I’ve not used it in CS6 personally, I have v2.0 full version)…Red Giant’s website doesn’t designate it as being compatible with CS6, but I believe it’s simply the installer doesn’t “see” CS6 so you just have to place it in the proper directory.

Whatever you use, I would probably cut out a copy of the part of the clip you want to correct and place it on V2 with the original on V1 (or whatever tracks are appropriate for you) and maybe move the bit over a spot in the original clip where the shot is what you’re attempting to match…that way you can switch the upper track on/off to compare them as you’re adjusting. Or you could use a garbage matte or the crop effect to cut the top layer to half-screen while you’re correcting and do a side-by-side comparison…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

That duration display numbers are normally grey (not orange/yellow)…but you’re saying it’s not working at all? Does it show you numbers of any kind?

It should show you the length of the media in the source or the sequence TC of the last active frame of media on your sequence if you don’t have an in-out specified in either case…when it would then show you the length between in and out.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I haven’t run into anything like that, though if you’re exporting to matched frame settings, “max render quality” won’t gain you anything but export time…

Max render quality is intended to be used for converting framesizes or PAR…a 1080i sequence exported to 720p for instance.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I can’t help but think there is some additional piece of information here…something that makes some of this connect somehow…

You said that the clip’s framerate is interpreted by QT player incorrectly…but that Premiere Pro interprets it as 29.97. You know this because Premiere Pro displays that framerate in the project panel header, or shows the clip properties someplace specific?

You said that the sequence is set for 29.97, but the black video “renders out” as 28.95?

Do you mean that the media is created at that framerate in the new asset dialog?…that dialog sets the framerate based on the sequence, so that would point to the sequence being the same (incorrect) framerate…which could happen if you create a sequence by dragging a clip that has that framerate over the “new item” widget to create a sequence based on that clip…

…or that the exported clip shows that framerate (in QT?…in PPro?) after you export the timeline?

Have you analyzed either the source files or the exported files in anything else?

I think more details are necessary to troubleshoot this.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Yeah, I gotcha… I don’t use empty timeline as black, I don’t know how I got into that habit, but I have.

At any rate, I don’t seem to run into issues with the track matte key here, so I’m trying to see what file types the posters in the thread are using…and which effects/blurs, etc.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor