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Re: Certain clips becomes pixelated and flickering in the timeline and in the export: BRANCED

Explorer ,
Feb 13, 2023 Feb 13, 2023

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I'm having a similar problem, though it is not consistent: pixilation of short sections when compiled in a new sequence. THIS ISSUE shows up in the Timeline playback (other casess reported where it only happens during media export). Variously:

>The pixilation will fix itself.

>Opening the source clip in the Source Monitor fixes it.

>Changing the duration of the clip fixes it.

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Adobe Employee ,
Feb 13, 2023 Feb 13, 2023

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Hi, rellimbor,

Sounds troubling. I wouldn't say I like unpredictable behavior like that. It would be helpful to get complete details of your system, especially your media. Was the video shot on a video camera or DSLR? Did it come from some other source? Let us know. If you could upload a sample clip and PM me the URL, that would help. I would try transcoding a sample clip to ProRes LT to see if the issue might be media related. Let us know of any results. 

 

Looking forward to hearing back.

 

Thanks,

Kevin

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Explorer ,
Feb 13, 2023 Feb 13, 2023

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Hi Kevin. Thanks for responding.

>I shot this on iPhone Xr and iPhone 14. 

>After the first export, the iPhone 14 material had voice in sync with video, but the iPhone Xr material not.

>I ran it through Handbrake, which in the past has corrected audio/video sync problems (https://www.youtube.com/watch?v=eZHybKdyZ54), but it didn't work this time.

>The three strategies I described ending up fixing the problems: the audio sync'd in the Timeline and also in the export.

Consequently (and thankfully), I can't upload the problem to you. BUT: MANY THANKS.

Robert

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Adobe Employee ,
Feb 13, 2023 Feb 13, 2023

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Hi, rellimbor,

I appreciate your prompt response and am so glad you solved your problem. The YouTube video is not wrong; it works. My preference is to handle "bad video" up front. She does it at the back end after problems occur.

 

My tip (take it or leave it): Any time you have footage from an iPhone or mobile device (or drone, webcam or streaming video capture), transcode it Handbrake or Shutter Encoder (which I prefer because you can go with ProRes LT) before you even begin editing. That way, you can forget about the issue as you edit and at export time. Preventing problems with optimized media is easier to deal with than weird problems that require troubleshooting at export. Getting older now, reducing stress is a higher priority. Good luck.
 

Thanks,

Kevin

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Explorer ,
Feb 13, 2023 Feb 13, 2023

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HI KEVIN: That's great advice and I'll take. (The other solution was the only way I had found around the problem to date.) THANK YOU. Robert

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Explorer ,
Feb 14, 2023 Feb 14, 2023

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Kevin--could I beg you for a quick follow up?

VERIFY: Your suggestion is to process iPhone files into ProRes LT codex, then import them into Premiere Pro, then export them and process them with Handbrake (into H.264 (x264), 30 FPS PFR AAC (CoreAudio)) as I had been doing, right?

PRE-PROCESS QUESTION: Currently, I have about 60 hours of dual iPhone interviews that I brought directly into Premiere Pro, processed the audio (with Audition), created multi-camera clips, then parcelled into 10 different projects with 100s of little cuts. I'm afraid that if I now go back and process the source footage as ProRes LT, I will lose all that sorting work and will have to manually recreate all the cuts and distributions. You see any way to do this easily... like, a) could I run the sequences of bundled clips through ProRes LT, or b) is there a way to convert the source files and still have Premiere Pro recognize them as the original files?

POST-PROCESS QUESTION: I'm sending my outputs from Premiere Pro into Storyline 360 to build a large e-learning course. Two concerns:

1. I adopted the H.264 format a) to solve the voice/video sequence problem and b) because Storyline saves EVERYTHING every time you run a SAVE: thus the files where huge and taking several minutes each SAVE.

2. But at the same time, Storyline is very sluggish and jerky when playing its timeline in edit mode. What I read about ProRes LT having intra-frame compression makes me wonder if this would improve Storyline's handling of video during edits? But then, I won't get ProRes LT out of Premiere Pro, right?

Any guidance on outputs from Premiere Pro into Storyline 360?

That's a lot--Greatly appreciate any guidance you can offer.

Robert

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Adobe Employee ,
Feb 14, 2023 Feb 14, 2023

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OK, I hope I can help.

quote

VERIFY: Your suggestion is to process iPhone files into ProRes LT codex, then import them into Premiere Pro, then export them and process them with Handbrake (into H.264 (x264), 30 FPS PFR AAC (CoreAudio)) as I had been doing, right?

 

If the clips are ProRes LT, you can export with ProRes LT and get a high-quality master, make sure all effects are rendered first (green line). Render settings should be set to ProRes LT by default.

 

For those Export Settings, choose "Match Sequence Settings." Ensure the "Using Previews" button is engaged.

 

With the master, you can bring into Media Encoder, Handbrake, or Shutter Encoder to create your H.264 files for your project.

 

You can also export H.264 directly from Media Encoder, if it is more convenient to use these files directly rather than strike them from the ProRes master. Using an H.264 as a master for other H.264 files is not a good idea because it may result in lower quality. 

 

I think you need to test this workflow to be safe. Remember that after you are fairly certain that the ProRes LT files are no longer needed after making your delivery files, you can delete them. Ensure you have deleted video preview files, as these can also bloat your hard drive.

quote

PRE-PROCESS QUESTION: Currently, I have about 60 hours of dual iPhone interviews that I brought directly into Premiere Pro, processed the audio (with Audition), created multi-camera clips, then parcelled into 10 different projects with 100s of little cuts. I'm afraid that if I now go back and process the source footage as ProRes LT, I will lose all that sorting work and will have to manually recreate all the cuts and distributions. You see any way to do this easily... like, a) could I run the sequences of bundled clips through ProRes LT, or b) is there a way to convert the source files and still have Premiere Pro recognize them as the original files?

 

I think it should work as the clip and media file names are the same. Just leave off the extension option in the Link Media dialog box.

 

What you might try is after duplicating the sequence and working on the copy, perform a test by linking one clip with the new media and let us know the results.

 

If it is not working, we can try other possibilities.

quote

POST-PROCESS QUESTION: I'm sending my outputs from Premiere Pro into Storyline 360 to build a large e-learning course. Two concerns:

1. I adopted the H.264 format a) to solve the voice/video sequence problem and b) because Storyline saves EVERYTHING every time you run a SAVE: thus the files where huge and taking several minutes each SAVE.

2. But at the same time, Storyline is very sluggish and jerky when playing its timeline in edit mode. What I read about ProRes LT having intra-frame compression makes me wonder if this would improve Storyline's handling of video during edits? But then, I won't get ProRes LT out of Premiere Pro, right?

Any guidance on outputs from Premiere Pro into Storyline 360?

That's a lot--Greatly appreciate any guidance you can offer.

Robert


By @rellimbor81309721

 

I think an additional test for ProRes LT vs. H.264 performance might be looked at. I haven't had a look at Storyline 360 yet. Is it an installed application, mobile app, or browser-based? I'll have a look when I have a moment. Yes, in the first section, I outlined how to export either LT or H.264, each with its own advantages and drawbacks.

 

Sounds like a cool project. I hope I can help you.

 

Thanks,
Kevin

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Explorer ,
Feb 14, 2023 Feb 14, 2023

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Thanks so much Kevin. Will test and report back in the next day or two. Storyline 360 is Windows-only desktop program (hence my Parallels) that outputs to desktop and handhelds. https://articulate.com/360/storyline Back soon...

Sincere regards. Robert

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Explorer ,
Feb 15, 2023 Feb 15, 2023

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Kevin: Working on this test... 1. After I generate the source files with ProRes LT codec, the multicam sequence will refer to these without me having to regenerate a new multicam--RIGHT? 2. Will the audio tracks be improved by the ProRes LT codec enough that I need to regenerate an extracted audio track with Audition? (I'm thinking not.) Robert

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Adobe Employee ,
Feb 15, 2023 Feb 15, 2023

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Howdy, there. 

1) They should if they have the same name. 2) No, the previous audio should be fine. Let me know if it works out.

 

Thanks,
Kevin

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Explorer ,
Feb 16, 2023 Feb 16, 2023

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Hi Kevin,

As far as I can tell, this works. I generated two ProRES LT.mov files; renamed them to match the original files; put them in the same file location; and Premiere Pro reapplied all the Markers and treated them just like the originals. Because I had solved the original edit problems by the three make-shift steps originally reported, I can't apply the ProRES LT files to verify the fix at that level.

Consequently, the workflow is doable. Diagram attached.

The problem is that the ProRES LT files are 10X the size of the original iPhone outputs. If I convert all my raw footage on this project I'll go from 275GB to almost 3TB, which is 3/4 of my drive (before I consider back-ups). While I can delete the ProRES LT versions (as you note), I can't really do that until the whole project is delivered. Because Storyline 360 doesn't work well with a remote drives--and the extra complications remote drives will entail--I probably need to NOT adopt this process for the whole project--just save it for when I need encounter a problem and need a fix. AM I MISSING ANYTHING?

Again, I really appreciate your guidance and help. You've been SUPER HELPFUL.

Robert

 

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Adobe Employee ,
Feb 16, 2023 Feb 16, 2023

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Hi rellimbor,

I am sorry that I outlined a workflow that was untenable for you. You can maintain a decent H.264 pipeline, but you may need a more powerful CPU. You can try exporting to Shutter Encoder to H.264 files, which may help. Try a test and let us know.

Thanks,
Kevin

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