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SAFEHARBOR11
LEGEND
SAFEHARBOR11
LEGEND
Activity
‎Sep 20, 2019
08:42 AM
1 Upvote
Your video clips could be Variable Frame Rate, which often leads to sync issues. What does the frame rate show for the clip, or in Sequence Settings? If something odd like "30.01" then that's probably the issue. Most cell phones now record VFR. Many users will pre-process their VFR clips by using the free HandBrake application to transcode the .mp4 to Constant Frame Rate (usually 29.97) and then edit that new clip in Premiere without issue
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‎Sep 20, 2019
08:40 AM
What is the source of the .mp4 files - how were they created? Maybe a simple change in that process would make a difference?
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‎Sep 19, 2019
08:55 AM
Please post a screen shot of the Export Settings used. Did you actually choose a YouTube preset or use something else? Sometimes the Sequence Setting is incorrect, for instance DV (SD), so even though the source clip is HD, running it through an SD Sequence lowers the quality to SD even though you might later export as HD. So let's see the settings to make sure everything looks good, that is step 1. Thanks Jeff
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‎Sep 18, 2019
10:30 AM
What Ann said - and not just the Export, but the Sequence Settings also should have Fields set to None/Progressive. The lines in your latest pic example are interlacing that you don't want (from Lower Field First setting).
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‎Sep 18, 2019
09:27 AM
First you want to make sure the Sequence Settings are correct, meaning they match the source video clip. Import the clip into Project Bin, then right click and select New Sequence from Clip. Alternately, drag the clip to an empty timeline and drop it, and a pop-up should ask if you want the Sequence to match the clip, say Yes. Now you can trim the video clip in the timeline. Grab ends of clip with mouse and drag to shorten both ends down to just the portion you want to keep. Drag entire clip to far left, so there is no dead space preceding video clip. When you are satisfied with your editing, go to File > Export > Media The default export settings are usually H.264 with a preset of Match Source - High Bitrate. Since this is for a PowerPoint, Medium Bitrate might be a better solution. This will create a smaller .mp4 file which is pretty universally playable on Mac or PC in most any player usually. Typically, and especially as an inexperienced user, you will not change any parameters, other than setting the file name and destination for the export. Please see photo and look at Source and Export settings - you will both are 1920x1080, 29.97fps which matches the example source clip. Matching is usually what we want - if they don't match it could be a problem to look into. You will also set the Filename/Destination here by clicking on the current filename to change. As I don't know what your source clip is, it may have different settings than my example, but again both parts should match. An exception example is maybe your source is 4K video, which is too big for a PowerPoint, so then perhaps you select a different Preset to export to, such as 1080p or 720p to make the video smaller. In that case, maybe just use a YouTube 1080p preset for example, sticking with H.264 as the Format. These are general guidelines and not hard and fast rules, as every situation will differ, but this should get you going without much trouble. Thanks Jeff
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‎Sep 17, 2019
02:16 PM
If the file is really truly deleted, it may be recoverable if you have NOT written any more files to the drive since, which could overwrite the file and make it unrecoverable. On the PC, I have had great results using the free RECUVA software, don't know about Mac. But stop writing to drive, this includes autosaves in Premiere, shut it all done until you can run a recovery program
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‎Sep 17, 2019
08:23 AM
Two important questions: 1) Resolution and frame rate of source video you are editing, for instance 1080p60 2) Do the Sequence Settings match #1?? In one of you screen shots of export settings, I saw "DV" which suggests your Sequence is actually set to DV video which is SD (720x480) and not HD and that's why it looks bad because it is set to low quality. Please don't make us download multiple jpg images, one single shot of entire export panel would have sufficed. Please see example of Export Settings for a 1080p60 project, where Source and Export are both set to 1920x1080, 59.94fps, Progressive In most workflows, you will want Source and Export settings to match. You can use various export formats like H.264, ProRes, DNxHD, whatever, but the parameters should be in sync with any of them. Your Sequence is the foundation to build your project on. Start with the wrong settings and everything else will be messed up moving forward. Right-click a video clip in Project Bin and select New Sequence from Clip for a good start. Or drag preferred video clip to empty timeline, and timeline sequence will adjust settings to match clip. No reason to be starting with a DV sequence, unless editing DV material. Thanks Jeff
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‎Aug 19, 2019
09:34 AM
3 Upvotes
I see two potential issues. One is the Intel graphics. For certain things, Premiere can provide GPU acceleration, but you need a compatible graphics card installed, such as an RTX 2060, 2070, or 2080 for example. Scaling is GPU accelerated, so the proper GPU will speed up the 4K to HD output. Next is the frame rate shown for the 4K source, which is 59.174 rather than correct 59.94 that the export shows. The 59.174 frame rate of source suggests that it is perhaps a VARIABLE FRAME RATE clip, and that may increase the export time. Often better to convert source clip to CONSTANT frame rate before editing, like using the Handbrake application (free) do so then edit using the new clip. Thanks Jeff
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‎Aug 06, 2019
08:16 AM
2 Upvotes
Hi Kim, Not familiar with your exact camera - check the manual - but in general, there is usually a WB button that toggles between various presets (Indoor, Outdoor, etc) and MANUAL will be one of the options. Then once in manual WB mode, there is usually another button to SET the WB. What you will do is use something white - a shirt, a piece of paper, etc - and place it where the subject would be, so you are getting the same lighting the subject would get on the white item. Zoom in so white item fills the screen, then SET WB. The camera will use the white as a reference to adjust all colors accordingly for best color reproduction. There are special white cards one can purchase for setting WB but a white object/paper has always been good enough for my needs. Even at a wedding I can just use the altar cloth, table cloth at reception, or even the shirt of a busboy (If he sits still long enough, doing this in stealth from afar!). Another tip - your camera should have HDMI output - connect that directly to a monitor/display on set so you can better check the focus and quality of what you are shooting, rather than relying on tiny viewfinder or camera LCD. Thanks Jeff
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‎Aug 05, 2019
12:58 PM
2 Upvotes
What is the purpose of the export - intermediate for further editing, edit master (archival), delivery? There are countless ways to export a video, we need to know for what. Most people are not using "uncompressed" these days, but rather go with a high-quality intermediate which can be visually or even mathematically lossless, but with much smaller file sizes than uncompressed. ProRes is popular, or DNxHD or Cineform are others. As you mentioned AVI, seems you are on a PC then? If so, for your own use, you might look at the Lagarith codec, which is mathematically lossless, so uncompressed for all intents and purposes but with smaller files. https://lags.leetcode.net/codec.html Assuming person who sent file back exported with proper settings (Dimensions, frame rate, fields, pixel aspect ratio) then just drop that clip into a NEW sequence and the sequence should then match the source clip. Then Export with whatever codec you want using same settings like 1920x1080, 29.97, Progressive, 1.0 PAR or whatever you have for the source. In Export Windows Source and Export settings ought to match for those 4 parameters. Thanks Jeff
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‎Aug 05, 2019
09:08 AM
I have to ask, was the camcorder used for the transfer manually white balanced to the projector bulb? If not, that may have made the issue that much worse, perhaps using wrong WB preset or AUTO WB Thanks Jeff
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‎Aug 05, 2019
06:36 AM
2 Upvotes
See if perhaps the actual audio tracks on the tape are 12-bit 32k versus the more standard 16-bit 48k. And where do you see the sync issues, with what player? Best to use Premiere to rule out any software media player weirdness Thanks Jeff
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‎Aug 02, 2019
09:21 AM
2 Upvotes
A few more tips: Position subject farther from background. You can't right now due to screen size, but try for like 3 feet at least (1m). Light green background and subject separately. You want the green color to be even, not shadowed from bright to dark in areas (such as behind talent's elbows/lower torso). Note that it's possible to over-light the background - it does NOT need to be real bright, just evenly lit. Too much light and green reflects onto talent causing more issues, green reflections spill onto head and shoulders and messes up the keying. If you can get a small soft light positioned from above and behind talent, that will keep edges of head and shoulders from being dark/shadowed which tends to blend into background and does not provide a sharp contrasted edge for keying. Use MANUAL focus on camera so it never hunts when subject moves. Use MANUAL exposure, and disable/turn down GAIN. Seems to be grain in sample image. Grain is going to mess with the keying, you want the image as clean as can be to start with, no noise. Sometimes going a stop or two lower on exposure than AUTO wants to do helps. If talent and/or background is too bright, not good for keying. MANUALLY white balance your camera to get truer colors and avoid/minimize need for color correction, this also helps get the best keying. Try to experiment and get the workflow dialed in before talent arrives to cut down on setup time and avoid re-shoots. Good luck! Jeff
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‎Aug 02, 2019
08:15 AM
2 Upvotes
Now that's the bright green I'm talking about, yes! Looking at online specs for the XF105, it does record using 4:2:2, so that's a real plus not found on many cameras! However, I would recommend bumping recordings up to the 50Mbps settings, and using 25p or even 50p if available, which should provide better results than interlaced 50i. Without getting too technical, each "frame" of interlaced (1080i/50) video is split into two "fields", one made of the even-numbered scan lines and the other the odd-numbers. And a small amount of time elapses between each field being captured, so when the subject is waving his hands, the hands will be in two different places in the two fields therefore adding to a motion-blur type of issue which does not help the keying. By recording 25p or 50p, each frame of video is captured all at once. Interlacing is just an undesirable thing we are stuck with from decades ago when CRT TV displays required that kind of technology because they couldn't handle a progressive signal. And if your video is destined for online/computer use, that MUST be progressive anyway, so why start with interlaced? Just create an all-progressive workflow and get away from interlaced if you can. No need to read all the text, but check this link Interlaced video - Wikipedia and find the image of the car wheel to see the results of interlacing. Then understanding that keying must try to define a clean edge between the foreground subject and green background...how can it do that when hands/fingers are in two places at once with combing effects between them? Also, very important - make sure the Sequence matches the footage, mentioned earlier. Easiest thing is to drag a clip onto a blank timeline sequence and it will match the settings for you. Or right click a clip in Bin and choose New Sequence from Clip. Thanks Jeff
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‎Aug 02, 2019
07:19 AM
2 Upvotes
The pics are very helpful. Not all green screens are created equal - yours looks very dark, and a brighter more saturated green is going to work better. I actually use a bright green sheet from a fabric store. Almost a neon green. I also do have a pop-up like yours and it just doesn't work as well. Chroma Keying works off the color value of the pixels and the dark green just doesn't given enough saturation value to the pixels to set them apart from the foreground subject. If you look at talent's right shoulder and arm, it's not really a good key, has chunks missing. Just more apparent on the hand due to motion. What are the camera recording settings settings, for instance 1080i, 1080p30, 1080p60? And recording to what format, like AVCHD or?? You will get best results recording to a 4:2:2 format versus 4:2:0 which records less color information in the signal. Some cameras will offer both recording modes. What model are you using? You want to at least use the highest quality, highest bitrate record mode you can to give you an edge with the keying. One will usually get a better keying result recording progressive (1080p etc) versus interlaced (1080i). Of course, lighting is the most important factor in getting a great key result. I'd definitely try a different background for starters though. The pop-up is convenient, but that shade of green is not helping you one bit. Thanks Jeff
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‎Aug 02, 2019
06:55 AM
Please provide a still frame grab showing the issue, perhaps with and without keying applied. Also, do the Sequence Settings match the source video? If you are inadvertently changing the frame rate or something, that can make things worse. Thank you Jeff
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‎Jul 31, 2019
11:18 AM
At the risk of sounding really old school, I might suggest an alternative to nesting. Put the clip to be stabilized into a matching sequence, stabilize, then Export using a good intermediate codec which is basically lossless where quality is concerned. For instance DNxHD or Cineform codec, or ProRes on Mac. Now, you have a NEW clip that is already stabilized and ready to do whatever you want with, no funny business to deal with moving forward. Thanks Jeff
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‎Jul 31, 2019
11:12 AM
1 Upvote
Another scenario - you drop 4K clips into an HD sequence, and then export as 4K. The output will be 4K, but the "quality" will be that of HD clips blown up to 4K - the moment the 4K clips were dropped into the HD sequence, you lost that "4K goodness" and those 4K clips essentially became HD clips as far as Premiere was concerned. Not knowing what resolution your source clips are, or what the sequence settings were used in your workflow, I can't comment on whether you might have gotten best results or not. Hope so! Thanks Jeff
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‎Jul 31, 2019
10:28 AM
Hi Angela, There are some important considerations that should be part of the workflow. You mention "multiple ratios" which I might assume to mean clips of various resolutions, is that correct? The reason I ask is this - say you create a 4K sequence to match your highest-quality clips, but then you also have perhaps HD clips being used as well. Now if you intend to deliver as 4K, then the HD clips just get upscaled, that is fine. However, if the intent is to deliver as HD, then the problem is that when you put an HD clip into a 4K sequence, that HD clip gets "blown up" to the 4K sequence size, which will hurt the quality of the HD clip. Then if you export to HD, that blown up clip is used as the source to come back down to HD, further hurting the quality. Ideally, if you would edit in an HD sequence, the 4K footage would come out great being downscaled to HD, and the HD footage will be output straight to HD and will also look great, not having been converted to 4K and back again. Another thing is that if the RED source footage is not 16:9, when you export to HD something has to get cropped from the source - the export will not look the same as what you were editing. So again, might be better to edit in a 16:9 sequence and then any cropping/repositioning happens right there in the sequence where you have control on a clip-by-clip basis and you know what you will get then before exporting. So, please let us know the specs of all different kinds of source clips you are working with in this project and we can then help to figure out the best path to getting a great export Thanks Jeff
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‎Jul 30, 2019
01:23 PM
2 Upvotes
"If I did do this, I'd discard the original files, and only keep the newly converted, as otherwise I'd run out of space." Not a good idea at all. When moving camera clips from SD card to hard drive, the first thing one should do is COPY those files to a second hard drive for backup. In your case of wanting to transcode, do so, but then SAVE those camera originals or one day you might have a disaster on your hands. I know budget is always an issue, but hard drive space is CHEAP these days and the AVCHD files take very little space in the great scheme of things (cheap external drives are 2TB or more in size!). Really no reason not to have a backup of the precious video files. Someday you will be glad you have backups 😉 Thanks Jeff
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‎Jul 25, 2019
01:16 PM
1 Upvote
Agreeing with others, sample rate has nothing to do with the drift, just the nature of audio recorders. Put a razor cut every so often and re-adjust audio clip with a nudge. Did you know you can change the timeline markers from frames to audio samples? That will allow you to make finer adjustments to the audio position, when moving one frame is not precise enough.Click the wrench at lower right of PROG monitor and enable Show Audio Time Units. Then zoom in as needs to match up waveform to other audio, typically the audio attached to video which does have the correct timing. Thanks Jeff
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‎Jul 24, 2019
09:04 AM
Please click your mouse anywhere inside the Sequence (timeline) window to select it, then at top of screen, select Sequence > Sequence Settings. Now please grab a screen shot of the Sequence Settings and share with us. Most often when someone says their titles or graphics look blurry, they are actually working with a low-resolution sequence, meaning perhaps not HD quality as intended. So we need to know what you are working with before we can proceed. Thank you Jeff
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‎Jul 23, 2019
07:22 AM
Exported file size follows a simple formula of data rate x time. Doesn't matter if source or export size is SD, HD, or 4K - if the same data rate is used for export of all 3 files, the exported SD file will be the same size as the exported 4K file. If I am filling a pool with water at the rate of 20 gallons per minute, after 5 minutes I will have 100 gallons in the pool. Doesn't matter if I'm using SD or HD water, it's still 100 gallons of water. Hope that makes it easier. Thanks Jeff
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‎Jul 22, 2019
02:57 PM
2 Upvotes
Here's some pics from a post I did last week This should help visualize what we've been discussing. I usually leave the audio clips on their own tracks, but they can be combined to one track as well. I guess I like to leave them on original tracks to easier see what source they are (you can RENAME the tracks at left to identify source, such as MUSIC, MINISTER, GROOM, etc.)
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‎Jul 22, 2019
02:38 PM
2 Upvotes
Any time there is a "razor" cut in the audio/clip ends, that can cause a pop or other results you won't like. Picture this - you have one long clip with a song in it, but cut out part of the middle, then butt the remaining parts together. Where the two audio clips meet, there will be an abrupt change. Will not sound good! So you put an Audio Crossfade there and it blends the two parts together to hide the splice. So basically, if you are alternating clips on say A1 and A2, the audio clips are perhaps recorded with different mics and at different locations in the room so they are not going to sound the same and there will be an abrupt change between the two. So you cross fade them then that splice becomes invisible to the listener. You don't want to draw attention to your edits. So even if audio clips are on different tracks, have a little overlap so the next one starts just before the first one ends and cross fade them both. And there should never be an audio gap/total silence as long as there is video on screen. Only if you fade to black then silence, otherwise you at least want some room tone. Thanks Jeff
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‎Jul 22, 2019
01:57 PM
2 Upvotes
I work in a similar fashion to SamLanes, but rather than disable pieces of audio I just delete them but I can see the value of keeping them all intact in case needed later, learn something every day! But basically just make Razor cuts and delete (or disable) the portions of each audio track you don't want to hear. One tip: if you have hard cuts in the audio, it can be quite noticeable when different segments turn on and off. Use an Audio Crossfade transition on each end of the short clips to have them come in and out smoothly. And make sure ends of pieces on different tracks overlap one another a bit, so that one doesn't fade down to silence, then the next fades up. You want that overlap of the ends by maybe a second so that they smoothly transition into one another more seamlessly. Thanks Jeff
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‎Jul 22, 2019
10:45 AM
If you put HD footage into an SD sequence, the quality IS lowered to SD, so even if you export as HD, too late - that HD quality has been lost and you are taking SD quality and trying to blow it back up to HD again. Very critical to use the correct Sequence Settings. You should be able to change the Sequence to CUSTOM and modify the settings. Otherwise, try this - create a NEW SEQUENCE with proper HD settings. Go to the 720x420 sequence and SELECT ALL (CTRL-A) and then COPY (CTRL-V) then go to the HD sequence and PASTE (CTRL-V) and that will copy all content of original sequence to new sequence. If you had any legacy titles, might need to remake those in HD quality Thanks Jeff
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‎Jul 22, 2019
09:39 AM
1 Upvote
I use Neat Video Denoiser and denoisers in general do take a long time to process. A few years ago, was looking at 24 hours to do a 30 minute HD clip!! In the the newer version of Neat Video, you can now optimize the processing to best utilize your CPU and GPU setup and the GPU acceleration has greatly reduced my render times. It's in the settings somewhere, no access to it at the moment. But please do that for starters to make Neat as fast as possible. Note I have not tried Denoising 4K footage, which has 4X the pixels as HD, so likely will take that much longer than the HD processing. I should also note that when applying a Denoiser in the Premiere timeline, things can grind to a halt. Meaning you may not be able to scrub/play/preview the footage smoothly with Denoiser applied, so it really kills the edit experience. What I often do is put the source clip on the timeline by itself, apply ONLY the Neat filter, then EXPORT as a new clip that is Denoised, using a good intermediate codec (basically lossless quality from original). This process is something I will just let run overnight for instance so no down time. Then import the new clip and do all your editing with that, add more effects etc. Some combinations of effects, especially with 4K, can take a VERY long time to render. In some cases, the total rendering time will actually be LESS if done in two passes. Meaning denoise the footage and export to new clip, then add more effects to new clip and export that, and total rendering time of both export passes could be substantially less than if exporting it all at once. So for instance you want to apply both Warp Stabilizer and Neat Denoiser...can pretty much guarantee you would save time in the end to export in two passes. Render times can increase exponentially when combining certain effects! Denoisers work by comparing adjacent frames, so doing a math on millions and millions of pixels for every frame processed. Well, Warp is doing something similar, so imagine the two of them competing with each other when rendering.....let them each do their own thing in two passes and time is saved, it is more efficient. Not that you are using Warp, but you get the idea - some color filters can be pretty intensive as well. Thanks Jeff
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‎Jul 22, 2019
08:15 AM
3 Upvotes
The Sequence Settings in Premiere are highly important, really being the foundation for everything else moving forward. I see a few issues - 1) Your Sequence Settings are 1920x1080 @ 23.976 yet Export is 1920x1080 @ 29.97 so changing frame rate 2) The Sequence Settings you shared are not even for the Export you are doing, since the Source in Export Settings will match the Sequence and the 740x422 Source does not match. You probably dropped a graphic as first item into a new sequence and it grabbed the dimensions of that graphic to set the sequence. Gotta be careful with that or you get bad results. So, if you ultimately want to export as 1920x1080 @ 29.97 then start with a matching Sequence Thanks Jeff
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‎Jul 22, 2019
07:09 AM
My suggestion for anyone editing video, professional or hobby, is to have a STEREO desktop speaker system on the desk in front of you, with speakers positioned to left and right of monitor. Then it will be quite obvious if there is a dead channel or any other weirdness during editing. Not a "surround" speaker system with a subwoofer and such, just TWO SPEAKERS (unless you are specifically working on 5.1 but I think stereo will suffice for 99% of users). Thanks Jeff EDIT: My understanding of the out-of-phase audio is that when played through speakers, the sound waves of the two channels will cancel one another out in the air. Meaning there IS sound coming out of each speaker, but we actually hear silence due to the cancellation! Now, if you listen to the same audio with headphones, the left and right channels are isolated into your ears and therefore the sound waves do not cancel each other out and you will hear the sounds. So if editing with headphones you would not know there is any issue. Or editing with a mono speaker. And then what happens with mobile device playback is the phone will have a mono speaker, so the stereo channels are combined into mono and this again allows the L and R signals to cancel each other out but electronically (before coming out the speaker) rather than cancelling in the air. Like if you add +1 and -1 you get zero.
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