Hello, dear community, can you help me? I can't find a solution to my problem.
I'm exporting a clip with Adobe Premiere in H264 format, and the export is showing pixelation/degradation that does not exist in the timeline or source media (source is UHD). I'm using a MACBOOK M1 MAX, and Premiere 2021.
On another computer (PC) I exported the same clip in H264 with the same Premiere 2021 and there is no pixelation.
In the timeline the clip is associated to a PROXY file (I have them both: source and proxy) and I thought it was exporting the proxy instead of the source, but then I export it in PRORESS the clip is just fine, I import the proress and I export again in H264 and the pixelation persist.
I have tried the following:
- Use Premiere 2023, it's showing pixelation.
- Export in H265 (it seems fine, no pixelation)
- Export another clip with the same low light issues, it's showing pixelation
- Export with Media Encoder (it shows pixelation)
The mystery is that I've been working on another computer (PC) and exporting the same clips, same formats, same settings and I never had a this issue.
I'm on a tablet this morning ... and not interested in downloading all those files to open and look at. Then delete.
I would suggest dragging/dropping the images directly into the text box. NOT to the 'attach files' box. As the images when dragged to the text box appear in the post itself. We can see them without downloading.
I will add a bit of tech talk though. By the nature of H.264 compression, it does most of the compression by sorting the image into blocks of pixels, maybe 3x3 or4x4, something like that.
Then it looks for pixels that are close to each other for values. Such as 23/18/12 and 24/19/13.
Well, you probably won't notice if those both become 23/18/13, right? And so the pixel data is actually changed by the compression process. It makes a set of data points, with fewer points, because more pixels are now the same.
You should be able to see why H.264/5 long-GOP codecs are prone to both macro-blocking and banding. So this is an ongoing issue with going to that format.
And it's more notable when you have a lot of fine details like in foliage or smooth areas with subtle gradations like walls and skys.
Becoming knowledgeable in making higher-Q H.264/5 exports is part of The Job. Not ... enjoyable, of course. For most of us at least.
But the specific settings ... how long between i-frames (the few actual complete frames everything else is computed from), the Profile & Level chosen, several other things ... matter a lot, and are different for different image needs.