First off, not necessarily a bug. VFR only works with video games because they are not reality based. They are overlay graphics being built on the fly as needed.
The difference between VIDEO and GRAPHICS is that VIDEO is CAPTURED, and GRAPHICS are WRITTEN. Video is litterally the visual of life. Graphic littlerally means "Drawn" or "Written" image. With video, it's assumed that things change and it is captured at a set rate to keep some semblance of balance in the speed of motion.
Keep that in mind. Video cameras in the consumer or "Prosumer" market use OIS and EIS to "Stabilize" handheld shots, but they EXPECT YOU to run it through a blend mode ingest operation before you actually edit the footage.
Here's the overall rundown:
PRO CAMERAS NOW SHIP WITH OIS\EIS ENGAGED-->TURN IT OFF! And remember when I say pro camera, I mean between $2000 and $80000
Prosumer\Consumer Cameras are less expensive, but you are more responsible; many are LOCKED into OIS\EIS in the lower price range-->make time to ingest your footage if you get one of these. Many of them come with cheaply made software that will create a lesser quality frame where needed, and running them through this software to download your video directly from the camera will give you useable video. The reason is simple, they want you to keep buying their cheap gear, so they give you everything you need, but very little instruction on how to actually use it.
Many of you aren't familiar with the concept of DAILIES. I will admit I had to go to college to learn that one... ...It was a COMMUNITY COLLEGE, and the class was offered to 9th graders!! They even had a middle school AV geek in that class! And we learned it from a BOOK! A book you could get at any library!
Okay enough ranting.
Here's an example of my workflow:
I set up 3 cameras, 2 of which are manned and panned (they zoom in and out, panning and such). They are all different makes and models, but have a common frame rate, and video format (progressive or interlaced; one or the other). I set them all to the highest setting of the lowest end model, and have one far away go-to angle just in case, that's always running. The pancams can clip, zoom, pan, whatever they want, provided they are within 30feet of what their shooting, or have a sound drop, or sound isn't needed. When I get home, I immediately open up either AME or Prelude. For longer Projects with a lot of clips, I use Prelude, and go through all the b-roll first. Then I import the main videos in the following manner:
I create an AUDIO ONLY rip of every file first, and store it. This is super fast, and gets me something to work with right away. Then I add them all back again, with a preset that keeps their "INTENDED" frame rate ( i have many presets for many rates, all with the "Keep original frame rate" unchecked, and an interpolation method selected for the footage), then I can add them all to a queue, and have them start. Their file formats and other information are all kept, just the framerate problems are fixed. I get started on cleaning up and test-synching audio for about an hour. Then I turn off all sound, and put on some ambient music at a very low volume to soothe my ears out of fatigue; I get started in prelude on the files that are finished processing, and start making some rough cuts. With 3 cameras all pulling in an event shoot that was 2-3 hours of footage for each one, plus some B-roll, it usually takes about half the time to a solid match for time. The reason is simple, it only runs through, checks the compression, copies each video frame for frame, and when it finds missing frames it fixes that. I get home at midnight or even 1AM, get to work for a couple of hours, go to bed, wake after a good sleep, and I've got most of my cuts and audio cleanup done. All that's left is a run into premiere and the final choice of which cut goes where, then a few transitions, an audio resync to my cleaner and clearer, and viola. 2-4 more hours working in the day on a total of 9 -12 hours worth of footage to cut it down to about 2-3 hours. In total about 6 hours worth of work and I have a file I can digitize. Then I just drop several outputs into a queue for AME and let it process those while I grab another project or take a break. Oh and did I mention I'm doing all that on a LAPTOP.
People who complain that they're on a deadline are basically telling you they have no idea how to use the software. I took several classes to learn premiere. One or two I audited for a repeat, just to make sure. Prelude is a different animal. You have to go online and follow along with their tutorials. Once you get used to making rough cuts while your videos are being "Ingested" by AME, you realize that your deadline isn't really that hard to meet. You can put together the basic cuts and timelines, mark clips, all that. Then you simply disconnect the old file in premiere, and reconnect that link to the new file. It will work perfectly, and you only have a couple of steps left. The Drawback of Prelude is that it is so different. But it's designed to do what's called "LOG AND TRANSPORT". That means you can take some notes, name, and mark up your footage to prepare for editing in a team if you've got one. You can make cuts of this shot for this team, that shot for that team, and so on. It's a great way to divide work, but it also allows you to bypass the problems of digital capture in the current era of lazy manufacturing.
Why it works:
Because it doesn't recompress already compressed frames in clean areas, it can fly right through. In missing frame areas, it has to uncompress at least one before, at least one after and blend them. For optical flow, it has to uncompress several images before, several after... ...but when it works right, it's worth the time (still background, moving subject, semi stationary camera). This decompression takes up some time, but most of it is in rebuilding the frame or frames that are missing. When last I checked, it didn't seem like it was recompressing the frames it just used for rebuild, it instead grabbed the data from the original file and passed it along because those frames were clean. Why waste the time on recompression? Of course, this is in the most recent version of creative cloud. Older versions have shown the operational clutter that appears they are recompressing clean footage after borrowing it for a blended frame. Not a bug, but definitely a time suck.
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