[Tom Gomez]

That’s what I figured… QT not playing nice with Premiere.

How do you manually do that in QT?

Is this also why my DNxHD timelines in Premiere play stuttery… because it’s playing through the QT engine?

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[Tom Gomez]

Thanks gents.

In export…

Format is set to Quicktime.
Preset is Custom.
Codec is set to Avid DNxHD (one of the 1080 flavors).
(And my sequence preset is a 1080 DSLR preset.)

But the Output summary says 720 x 480, and that’s how it renders. For the life of me I cannot find how to make a QUICKTIME do anything other than 720 x 480 in the Export Settings. The same result with any of the codecs.

When I change the format to anything other thank Quicktime, the output resolution changes appropriately. But if quicktime is selected, no dice. Any thoughts?

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[Tom Gomez]

Thanks gents.

I downloaded DNxHD and I’m playing around with it. Seems like a great codec. The more I play around with Premiere the more I like it. Haven’t used it since 4.0 in film school!

Super quick newbie questions:

> When I select a timeline preset for DSLR, it says the codec is MPEG I-frame. Is that the “editing” version of H264?

> When I throw different footage of different codecs on my sequence, and then go to output, does it first render the whole thing to the sequence codec, and then over to my output codec? Or does it take the source files and bump directly over to the output codec? Seems like the latter would preserve quality better.

> Finally, unless I am “matching sequence settings,” no matter I do I can’t get the export settings to say anything other than 720×480 for my output size… and so it letterboxes my 1080 sequence into an SD file.

thanks again folks

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[Tom Gomez]

Great info Alan!

I have similar problem…

Shot AVC-Intra and on import to FCP it transcoded to ProRes 422. (This was before native support of the codec.)

So now I have 422 footage at 59.94, but it was shot in 24p mode. (We were going HDSDI out of Varicam, which sends 59.94 no matter what, so recording native 24p wasn’t possible.) So now I have the classic stuttery video.

When I try to reverse telecine in CinemaTools, it tells me the footage is in no known NTSC frame rate and therefore it won’t work.

Any thoughts?

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[Tom Gomez]

Great advice everyone. THANKS VERY MUCH!!!

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[Tom Gomez]

Is that all? That makes me feel better. Thanks John! I wonder why it does that to only some files and not to others?

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[Tom Gomez]

Actually… they didn’t fix anything. After many many hours of tribulation, I was able to coerce FCP into doing the pulldown right. Basically, if you’ve got 59.94, flagged for 23.98, and you edit it onto a 23.98 timeline, it MAY or MAY NOT do the pulldown right. You know it didn’t if you get duplicate frames. So, all you do is re-edit the clip onto the timeline again, but change your start frame by ONE FRAME. Then it works. Basically, you have to go through your edit and do the re-edit maneuver to all the clips that stutter. Works great, but I wonder what resolve with do with it. As far as the 59.94 that is actually 59.94 slo mo, it seemed to handle those ok.

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[Tom Gomez]

Thanks so much gents!!! The more I learn about this coloring process the more pumped I get. Sounds like Resolve 8 may be able to do my sharpening and nr for me… which seems ideal.

Couple last finishing questions…

My FCP timeline is in ProRes 4444. Should I have the colorist give me ProRes as my super final final video file? And then from there go to MXF (for very small theatrical run in digital theaters), whatever formats tv stations want (will probably air on syfy), and of course DVD and BluRay… Or should I get a different format from the colorist as my super duper master file? Or should my FCP timeline itself be in a different format?

I’m guessing we’ll be mastering to the rec 709 spec… Are there things I should know about that spec? Different versions of it for different exhibition purposes?

When I did a test in a nice digital theater (just plugged in DVI to the giant projector) it looked amazing. Can’t wait to see what it looks like after it goes thru resolve.

thanks again,

Tom

PS. What’s a coda in resolve? 🙂

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[Tom Gomez]

Mostly because the colorist I decided on just barely bought a huge resolve setup and is eager to use it! 🙂

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[Tom Gomez]

Don’t know exactly what the problem might be… I’m sure it has something to do with FCP rendering some things at other bit rates.

I do all of my projects in ProRes 4444, with 10-bit and super white enabled, with high-quality motion rendering. I don’t seem to have too many problems.

There is an brightness/saturation jump in all my clips when final cut opens. As the program opens and you see the various sequences popping up, you see them jump in brightness and saturation… I believe this is due to the difference between the information in the video file, and how it can actually be displayed.

Supposedly much of this is addressed in the new FCP. (Which I frankly wonder about… Marketed as a pro tool, sold as a consumer app? Strange.)

Another thing to think about is which version of quicktime you’re watching. Quicktime X plays at crappy bitrates.

Hope some of this helps. I would love insight into what’s going on with all these issues.

-Tom

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