Walter Biscardi
Forum Replies Created
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In Premiere Pro if you have the Video Previews set to I-Frame MPEG you’ll never get a clean 10bit render because that’s a very lossy compression.
Switch that to DNxHD or ProRes 10bit and you should get a cleaner render. That’s what we do for all final renders from the Master Timeline.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Andrew Bergner] “Walter, do you just export from PP to Media Encoder directly to a compressed format (mp4) when delivering a file? Any need to export or store less-compressed files like in FCP going to .mov first?”
Yes we send the file to Media Encoder using the Queue function so we don’t have to just let Premiere Pro sit there while rendering out the file. To date we are not delivering any files to broadcaster, we still deliver HDCAM Masters so Tape Capture / Layback is still of paramount importance to us, still an area where PPro is very very weak.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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If you have access to a system with an AJA Kona I/O card, you can upconvert the footage in realtime from SD to HD. I would capture to Apple’s ProRes or Avid’s DNxHD 145 codec.
Or if you have access to an AJA KiPro, this can also perform the upconvert in realtime and leave you with a ProRes QT file.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Archiving is a conundrum because who knows what formats will be available in the coming years? According to reports I’m reading, the European Broadcasters are moving towards JPEG2000 as the Mastering / Archival format of choice. From talking to some American Broadcasters, I hear they’re looking to do the same.
So that’s how they’re hedging their bets for archival long term storage. As for myself, we currently edit everything native, we store everything native camera original, and we make a full resolution ProRes or DNxHD QT file of the final product. For the time being we archive on cloned SATA drives and are looking to add an LTO unit shortly.
Best of luck on your search!
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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As suggest above, create a BluRay Disc Image instead of burning to a BluRay Disc. Then use something like Toast or Apple’s own disc burning utility to burn that image to the BluRay.
I’ve NEVER been able to get Encore to burn to a BluRay disc in over two years of trying. I always create a Disc Image and burn from that.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Just edit raw native files as much as you can. You output the final to whatever codec you want. We use both DNxHD and ProRes as our output codecs depending on the machine (we use both Mac and PC)
One caveat to editing on Windows and that the XDCAM QT codec is not readily available for the PC so you need to purchase a plug-in from Calibrated Software to play this. We discovered this on a project that has about 300 clips that came to us already converted to QTs and we could not play them on the PC. We ended up moving the project over to the Mac.
It’s a relatively easy switch, particularly once you’re inside the application.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Absolutely worth the price of admission. Much improved interface alone is worth it. Performance is faster across the board and it’s definitely more stable than 5.5 was.
Audio controls are improved over 5.5 though not perfect yet. Should be improved as the product moves forward. Media management is still sketchy, but if you follow the advice in “An Editor’s Guide to Adobe Premiere Pro” from Richard, Robbie and Jeff you’ll be able to manually manage it well.
Upgrades are not just about the whiz bang new features, they’re also about the underpinnings of the application. Adobe has done a great job “under the hood” with this new version and it points to a good future. I would absolutely upgrade to CS6 for the improved performance.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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Batch capture never worked for us either with plain DV tapes connected via Firewire or professional VTRs connected through our capture cards.
Tape capture doesn’t work for us in CS6 either quite honestly and we can only use a BMD card to layback to tape.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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[Ben Edwards] “to get get even AVCHD stuff without filters to play smoothly after that (even on 1/4 resolution)”
AVCHD is an achilles heel for CS6 in our shop right now across all our Macs. Cannot get smooth playback of AVCHD material in most cases and very often systems crash during import or playback. Some systems crash up to 5 times per day when using AVCHD media. It’s a problem and I know Adobe is working on improving the AVCHD workflow.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.
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We use the AVC Intra codecs as our standard base Sequence settings for all projects. We leave the Video Previews at I-Frame MPEG setting through all the rough cuts, but then change that over to ProRes for final renders. We’ve seen some really bad tearing and bad compression artifacts in some shows when the I-Frame compression is left there for the Video Previews.
But for rough cuts, it’s faster and just fine to leave it at I-Frame.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“This American Land” – our new PBS Series.