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Franz_Bruckdorf56
Known Participant
August 6, 2024
해결됨

H.264 or H.265 for HEVC Videos from Mavic 3 classic and what are the best export settings 4k/full HD

  • August 6, 2024
  • 1 답변
  • 1957 조회

Dear forum members,

while I'm getting better in taking drone videos, my skills in Premiere pro are'nt that good at all. While I most of the time like what I see when exporting 4k and fHD videos,  I realize that the principles of what I'm doing are not sound. H.265 or H.264 - I tried both and did'nt see much of a difference when I exported to MP4 what I always do. A friend told me that he exports his drone videos to prores? Are there advantages for that way?
Can someone suggest a good reading that can help me to get more professional?
Thanks for your support

Regards
Franz

    이 주제는 답변이 닫혔습니다.
    최고의 답변: Ann Bens

    You need to ask the people from the local festival for the required specs for the movie file.

    1 답변

    R Neil Haugen
    R Neil Haugen
    Legend
    August 6, 2024

    It's all about the details!

     

    What's the deliverables used for, on what types of screens?

     

    Then you work backward from that. Workflows must always be planned from the specifics of the necessary final result ... so you know how to get where you need to get to, and can get there.

     

    Let's start with that ... what do you need to have at the end? Framesize, framerate, and bitdepth and data rates?

    Everyone's mileage always varies ...
    F
    Franz_Bruckdorf56작성자
    Known Participant
    August 6, 2024

    You are absolutely right - it's the details.
    I am working on a project to document a special region in Austria in outstanding mood, weather and perspectives. I want to show this documentation in a local mountain film festival, as far as I know they use 4k beamers. 
    So far I have settled to take the videos in 5,1 k, 30fps and did'nt much care about bitdepth and bitrate (capturing in DLog 10 bit on my DJI Mavic 3 classic).
    Thank you very much, Neil, for supporting me again!
    Franz

    F
    Franz_Bruckdorf56작성자
    Known Participant
    August 9, 2024

    I think the DJI's always use some long-GOP format, not sure exactly what. It allows for using a hardware chip to do high-speed compression to write vastly smaller files to disc with "low visual losses" ... so it's useful on that small drone.

     

    However ... that format requires decompressing/decoding up to 60 frames or more just to give playback to the next frame of that media. Simple players can typically handle this, but an NLE, which is not just playing back the file, it's grabbing bits & pieces of files, trying to play them seamlessly as a single 'new' video, along with applying effects ... hey, it's a LOAD.

     

    So a decent DI format/codec for the project, used either as a transcode to replace the media during the edit process, or as a proxy file for better playback, is a normal professional practice. Has been for years now.

     

    I work for/with/teach pro colorists, mostly in Resolve, with massive hardware. They've got more in their calibration software and gear than you and I combined have in our computers and monitors. And they pretty much all hate long-GOP to grade, even on their machines with massive high-speed RAID, 256GB of RAM, high-end GPUs and all.

     

    For most drone work, ProRes 422 is a good DI format, ProRes Lt or Proxy for proxy use.

     

    Proxy work is easy ... select the clips, tell Premiere to create proxies, and you can then go forth & back between original clips and proxies for display/playback. The app will export from the original clips.

     

    You can also export a ProRes 422 'master' of your project's final view, and use that to create the deliverable files in various formats.

     

    Total DI work typically is using MediaEncoder to make DI files of the entire shoot, then importing and using those files for the editing process. If they're named the same as the original files, at time to archive, it's pretty simple to replace them with originals.

     

    Simply select all the DI files in the bin in Premiere, right-click "offline". Then when Pr gives you the "we lost the file connection' dialog to search for them, select the folder on disc of original files, and the Premiere Project will now list all the original long-GOP clips as the project's image files.

     

    Store the project like that. If you do need to come back to it, you could again either make proxies or create new DI files, and offline the originals to the DI files.


    Thank you very much, Neil,
    that is great advice. Advice for problems I had'nt even articulated. But you nailed more than one of my problems, wow: 

    "long-GOP format- ...hey, it's a LOAD.

    So a decent DI format/codec for the project, used either as a transcode to replace the media during the edit process, or as a proxy file for better playback, is a normal professional practice. Has been for years now."
    I really have to do that: Proxy or DI as you suggested!
    Will certainly give this advice a try: 
    "Total DI work typically is using MediaEncoder to make DI files of the entire shoot, then importing and using those files for the editing process. If they're named the same as the original files, at time to archive, it's pretty simple to replace them with originals."
    And the advice to store projects is also very helpful!
    I think, with this help I've got from you, I'll be able to make some important progress.
    Thanks a lot and all the best!
    Franz

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