I'm editing with RAW RED files straight from camera. Looking good but just want to know what my best possible output file and quality scheme should be.
I want to send out REDlog Film Gamma space for my color session and I've selected that for all my clips but is there any quality debayering setting I should select before output? And to what file extension output? DPX max bit depth? Uncompressed 10-bit?
I've been asked to do a poster A2 size 594mm x 420mm 300dpi but when i enter these dimensions my pc is slowing down dramatically. whats the best way to achieve better performance?
View 7 Replies View RelatedWhen first making the video in Edit mode, is there any way to see the final output size before or after selecting Create Video File before the file is created.
If I choose Create Disk it will show the output size.
If not what would the maximum running time be for DVD output?
When I go into CFX/Action my broadcast monitor switches to the schematic view. Since I already have the schematic view on my computer monitor I want the broadcast monitor to keep the final output. I looked in the preferences but I can't find the right setting. Is there a away to do this?
View 1 Replies View RelatedIt looks as if custom spot colours created in X6.3 are not being correctly named in exported EPS or when pubishing to PDF.
Example:
I create a new, blank palette in My Palettes. I add a colour named with a screen colour of C=10 M=20 Y=30 K=40 and save it. I cannot name it at this stage (typing anything in the name box changes the CMYK value) so I leave it blank for the moment I mark it to be treated as a spot colour and change the name to NondescriptBrown
Next I create a document with one object, and I assign 100% NondescriptBrown outline to it. Good so far -- it shows correctly as 100% NondescriptBrown on the status line.
Export to EPS without a preview image -- making sure convert spot colours is off.
Open the EPS file in a text editor and look at the line: %%DocumentCustomColors: (C10 M20 Y30 K40)
That's right, the export has named the colour C10 M20 Y30 Y40 and searching confirms that the correct name NondescriptBrown does not appear anywhere in the EPS.
Looking at the palette's XML file I see:
So, it seems that X6.3 should be looking up the proper name in colors>page>color.name and using that for the export, but is instead exporting with the internal colorspaces>cs.name which is a purely arbitrary name that is not for external use.
I can fix the problem by manually editing the XML file by changing colorspaces>cs.name and colors.page.cs both to NondescriptBrown, so that the internal name is already the same as the correct export name, but clearly that should not be necessary -- and if CorelDraw can display the correct name on screen in the status line, it ought to be able to export it correctly too.
Exactly the same applies when publishing to PDF, but is harder to prove, because its compression renders the file unreadable in a text editor.
I am on a mac using CS5.5
I am making a short 10 second sequence to be displayed as a new years promo on two digital billboards. The requirements are that it is in .wmv format which doesnt pose much of an issue but is still relevent, and I need a copy in 880x256 and one in 448x160.
I have tried so many different avenues to get this to work over the course of a few hours and cannot seem to find a way for this to work out in my favor.
I started two seperate sequences each of custom settings with the specified resolution (880x256 and 448x160). I create the sequence for each and fit the frames accordingly.
on my system Premiere Pro CC is only using GPU rendering with AVI output formats.
All other formats like MPEG2, Quicktime, H.264 are unfortunatly fully CPU rendered (=slow).
I just upgraded from trial to payed mode and when Premiere started the CUDA was already enabled (might have activated it during trial already).
But anyway I checked if my card was in the support txt file and also used the cuda.zip auto tool to make sure I had no typo.I did this for Premiere Pro CC and also copied the list into the Adobe Media Encoder directory.
So I started playing with input and output formats. It turned out that CUDA is currently only working with AVI output. I installed GPU-Z to check my GPU usage vs CPU usage in the task manager.
As soon as I pick any other output format than AVI - CPU usage during rendering is up to 80-90 and GPU at 0%.
With AVI output GPU ist around 30 and CPU in the 40ties or less as it should be.One of my old applications Cyberlink Power Produces 11 is doing the h264 rendering in half the time.
My System is running on:
Asus P8Z77-V Deluxe with 16GB Ram
Nvidia GeForce GTX 660 Ti (with current Driver - 332.21 )
Windows 8.1 Pro 64-Bit (with Media Center) and latest updates
Current entry in CUDA*.txt file (as printed by Adobe GPUSniffer):
GeForce GTX 660 Ti
And already tried:
GeForce GTX 660Ti
GeForce GTX 660
I am working with MTS files (AVCHD, 1920x1080, interlaced, 25 fps) in Premiere CS 6, Windows, and want to render my project with the same properties as h.264.
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A common misconception is that CUDA/OpenCL processing is only used for rendering for previews. That is not true. CUDA/OpenCL processing can be used for rendering for final output, too.
But where/what are the options/settings to use CUDA not only for preview purposes, but for accelerating the rendering of the final output, too?
I'm experiencing an interesting issue in Premiere Pro CC. When using Mercury Playback Engine with either CUDA or OpenCL acceleration, the SDI output from my Blackmagic Design Decklink Extreme 3D+ card exhibits a noticable gamma shift towards the dark. When I switch to Software Only playback, the image appears as it should. The image in the viewer window inside Premiere is not affected in any way, just the SDI output. I've confirmed this behavior at multiple frame rates, resolutions and codecs, including ProRes, XDCam and RED. The "Linear Processing" checkbox in sequence settings makes no difference.
It makes the MPE acceleration unusable, and Premiere is very slow without MPE.
I know I can set LightRoom Preferences to open an image in Photoshop, but it seems my only choices are ProPhoto RGB, Adobe RGB or sRGB as working spaces. I'd like to set it up to use BetaRGB as my standard editing space. I know I could open in ProPhoto and convert to Beta RGB, but that is an extra step each and every time I edit an image. I would prefer to go straight from LR to Beta RGB in Photoshop.
View 2 Replies View RelatedI've uploaded .mov files from my Canon 7D camera onto Adobe Premiere CS6, but after doing some editing the footage in the playback screen is very jerky/slow. I'm working on a brand new iMac OSX and have a RAM of 4GB, so why the playback would be so slow.
View 13 Replies View Relatedi have been working on a pretty long multicam project (About 1h45m) in Premiere Pro CC.I was all done, and during export in Media Encoder i noticed that after about 45m of rendering, the preview window was still showing the beginning of the video. Upon further inspection, i noticed that the video appeared to be Looping. Sencing that something was wrong, i cancelled my render and reopened my project.
when the project reopened i could see that after a couple of edits, there were little white triangles and the top of the clips. I need to stress that before i started rendering, these triangles where not there.
And yes, when i played through my sequence, at every edit (camera change) the multicam clip would play from the beginning again. i have tried to remove everything after where this problem occurs and then drag the footage out. It does allow me to do edits again and it works fine, but i dont really want to spend hours doing it again, not understanding what the problem is and run the risk of it messing up again.
I took some video using a webcam that I need to edit in Premiere Pro. I converted it to 'Mov' and the codec info is 'H264 MPEG4 - AVC'. It imports to Premiere but the video appears extremely pixalated and disfigured to the point where it is unwatchable. I have set the sequence settings to the same as the source file.
View 4 Replies View RelatedI am editing in Premiere Pro using AVCHD footage. It takes a few seconds for my MacBook Pro to catchup and think in order to play it smoothly. It is HD footage and up to 60 GB of footage in the bin. Rendering takes 4xs longer than real time it seems to be. I am not savy with editing.
View 2 Replies View RelatedI can't find any preferences for changing the photo editing area background colour. I am not sure what it is called but what I am talking about is the space in the middle of the program where photos open up into (not the workspace option which changes the menu bar colours of which I am using the blue option.) At the moment the centre area is a charcoal colour. When I am editing a photo which is smaller than this space it is surrounded by this colour and it makes it hard for me to see the thin black border which I place around some photos. Can I change the colour of the editing area to white?
View 3 Replies View RelatedHow can I edit the department names, once rooms have been assigned to them?
View 4 Replies View RelatedI have the following equipment:
Canon HDV XH-A1S
When capturing HDV clip with Premier Pro CC and playing it in the timeline, the video plays very choppy (bounces) and vertical lines flicker (drapes, edges if doors, etc...). It also seems like it is playing too fast (?). I play the exact same captured clip in Windows Media Player, and it look great.
My Canon was set at HDV 60i
clip properties:
Type: MPEG Movie
File Size: 1.1 GB
Image Size: 1440 x 1080
Frame Rate: 29.97
Source Audio Format: 48000 Hz - compressed - Stereo
Project Audio Format: 48000 Hz - 32 bit floating point - Stereo
Total Duration: 00;06;04;06
Pixel Aspect Ratio: 1.3333
Coming from a FCP background, and I see this in FCP and in AVID, but I can't seem to do it in premiere, though I really want to. I want a multi monitor set up where the first monitor has my timeline, source window, and project window, then my second monitor has my bins & effects & metadata, then the third will be a full screen of the project window that is still on my first monitor, and then finally a fourth, 65" 4k tv also displaying the project window (mirroring the third monitor). Dragging the project window around and toggling in and out of fullscreen is a waist of time since there was no need to do that with FCP for so many years. I need 3 project windows in premiere (and I dont mean using the reference) , how do I do this with premiere?
View 1 Replies View Relatedi am starting a film project to edit, what is the exact 2k project sequence settings & project settings,like frame rate,2k resolution size,progressive or ?the project pipeline is - premiere to speedgrade to Lab print(Negative or UFO or Qube)
View 1 Replies View RelatedI have a large number of VHS and hi8 tapes that I want to convert to high quality DV.
I have a couple of options. One is an Elgado Video capture system.
The other is a Sony Digital Media Converter Box (DVMC-DA2).
I have tried a few of the less important tapes using the Elgado Video Capture system. It only allows you to convert to MPEG4 or H.268. It is not very good quality, especially for archival items or items I would later wish to edit.
I also have the Sony Digital Media Converter Box. I have heard that this is a superior option. So far, though, I have only been able to figure out how to import using an old version of iMovie HD. This makes a large imovie project file (approximately 6.18GB for a 28:30 clip vs a 348.9MB for an MPEG4 using delgado.
On top of that to convert the file from an iMovieProject file to DV is an additional step that so far looks like will take a half an hour at best.
Is there any way for me to import VHS/hi8 tapes using the Digital Media Converter Box to creat high quality DV files directly? If so, where can I find this info? What steps should I take and what are the settings I should use.
I have a lot of tapes so I want to figure out the right and most efficient way to do this because I will be repeating it a bunch of times and would hate to have to start over again.
I should also mention that I am using a Mid 2010 MacBook Pro, with OSX 10.9.1
I recently upgraded to 32 GB of RAM, thinking Premiere Pro CC would work amazingly. At first it does, but after about half hour of editing, my system shows 25GB of "disk cache" in RAM memory used up. This means my system is maxed out with RAM. And the result is choppy playback even at 1/4 resolution. Why is Premiere tying up so much RAM? Is there a way to limit that?
View 4 Replies View RelatedI am a recent convert to Adobe NLE systems coming from FCP 7. My question is: What is the highest quality codec that I can use successfully with AME and Premiere Pro CC?
I’m working on a project that is targeted to screen in theaters (festivals) so I want to finish with the best possible quality. My source was film telecined to Apple FCP Uncompressed 10-bit 4:2:2, 1920 x 1080, Millions, Data rate 1060.67 mbits/sec. However, that format is too unwieldy for editing. When using FCP for previous films, I transcoded those uncompressed files to ProRes 422 (HQ) for editing and for theater screenings.
I see that i can use ProRes with Premiere, with a little work. if he/she recommends a better non-quicktime format for editing and projecting?
I am an Adobe Creative Cloud subscriber and am using AME CC (version 7.2.0.43) and Premiere Pro CC (ver 7.2.1). I have installed all suggested updates. I’m running OSX 10.9.1 on my 2011 imac (core i7 with 32 GB of RAM). My graphics card is a AMD Radeon HD 6970M 2048 MB.
I'm exporting DSLR footage with synced audio in order to "bake" the audio in. I'm going to bring the export into Prelude to organize and then back into Premiere to edit. What are the best export settings (including target and maximum bitrate) to maintain top quality footage that I'll continue editing?
View 1 Replies View RelatedA film was shot on film stock @ 24 FPS.
I have a one light telecine video of the rush @ 25 FPS.
How do I edit the rush on Premiere Pro CS6 keeping in mind that I don't generate virtual frames (i.e. 24 frames on the time line corrosponds to 24 physical frames on the negative).
After editing, I need a cut list, i.e. a text document output with TCs and corrosponding edge code marks to refer to, while cutting the original negative.
The same task can be done by conforming the video to 24 via Cinema Tools while working on FCP. I need the solution for Premiere Pro.
I am ready to do some multicamera editing but cannot find my mutilcamera monitor in my window menu?
View 1 Replies View RelatedI installed the latest update for Premiere Pro CC a couple of days ago and now every edit I make in my Multicam sequence takes about 10 seconds to take effect. No matter how small an edit I make. While it´s taking affect the computer just freezes.
View 7 Replies View RelatedI'm new to CC's Mulicam feature, but well versed in the more limited equivalent in FCP. I was delighted with everything about it, until I began actually cutting multicam footage into my sequence.
Whenever I try and overwrite/insert/drag the multicam material into the sequence, it brings in 18 audio tracks- in spite of the fact that my multicam sequences have only 4 audio and 2 video tracks.
No amount of track deselection on the destination sequence works with this.This is going to be a real problem as I add new material into an existing a rough cut, with a 5 track temp mix. how I can specify only 1 or 2 tracks of audio?
I'm running 7.2.2, on OSX 8.5.
PS, Also unable to insert images into this post. Using Chrome Version 34.0.1847.116
In my Adobe Premire Pro CS6 project, When I select a clip that I want to drag down into the editing section it only allows me to drag the video and NOT the audio. I need both video and audio and it wont let me, I don't think I clicked anything wrong but
View 2 Replies View RelatedI have copied some colour negatives using my digital camera. What is the best procedure for removing the orange base colour of the film prior to converting them to positives?
View 9 Replies View RelatedWhenever I create a new colour in the colour swatches it only stays there for a couple of actions while working on a project. I understand from others that once they create a colour it stays there. Why can't I get that to happen?
View 1 Replies View RelatedHow do I see the object selected change colour dynamically as I adjust the colour sliders?
It seems the object only changes colour when I release the slider. But I want to see it dynamically change, so I can find the colour that works best without "hit or miss" - "trial and error" behaviour.
Yes... I'm aware some of you spend hours in colour programs creating a palette to work with. Good for you.
I'm just wanting to do it LIVE. Dynamically. In 2013. In Illustrator.