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Offbeat Bryce Productions
Engaged
Offbeat Bryce Productions
Engaged
Activity
‎Mar 31, 2018
09:51 AM
what exactly are you talking about? filming in .mp4 should be not different than filming in AVCHD. I can color correct AVCHD fine it's just that I can't rename the .mts clips in the AVCHD card folder structure without ruining the clips.
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‎Mar 31, 2018
09:27 AM
well, I think based on all the tests I did it just makes since for me to convert AVCHD to .mp4 and then when I export it for final use I'll export a quality 4 cineform file and then use that as my master to export other formats. Also from now on I'm going to just record in .mp4 since I can easily manage those files easier inside of windows 10. AVCHD won't let me add tags or anything to windows explorer but I can with .mp4 Then I'll just make proxy files using cineform 1 low quality as proxy files and then edit with those.
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‎Mar 31, 2018
07:29 AM
that doesn't help me as I edit some projects on a laptop and I can't hitch up a regular internal drive
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‎Mar 31, 2018
07:28 AM
so how come if I export a .mts clip as cineform high quality and put that clip one track above the .mts clip and choose blending mode difference there is visible pixels which shows degradtion but if I do the same thing with a .mp4 file there is nothing there? From what I can see cineform reduces the quality more than .mp4 Here is cineform high quality with difference blending mode turned on Here is .mp4 from the .mts clip with much less degradation. I don't see any degradtion with the .mp4 file and both cineform and .mp4 came from the same .mts clip
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‎Mar 31, 2018
07:01 AM
now this isn't confusing. If I export out a .mts clip as high quality cineform and use difference under blend modes there is some degradation but not with .mp4 weird
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‎Mar 31, 2018
05:46 AM
So how come when I do the difference mode under blends it's just a black picture? Wouldn't that mean there is no degradation?
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‎Mar 30, 2018
05:44 PM
that's what I have but some of my documentaries are literally 4TB large when transcoded I need them on an HDD. Not paying 3,000 dollars for a 4TB SSD and I don't think they even make those.
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‎Mar 30, 2018
05:14 PM
Do you have any idea how I'd use cineform files on a regular HDD via USB 3 external? So far the timeline plays back super slowly on a laptop with cineform files on a HDD USB 3. If I put them on my 2TB SSD USB C it plays back fine but then of course my SSD fills up quick and then I run out and can not even complete a project. I also tried proxy files via cineform but they are the same file size as high quality it seems.
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‎Mar 30, 2018
05:10 PM
well when I turn on different the image just turns black. Is that what I'm supposed to be seeing?
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‎Mar 30, 2018
04:17 PM
I did some tests by taking a .mts avhcd clip and exporting it out to .mp4 with the H264 setting and moved the target and maximum bitrate sliders all the way up. I exported this and put the clip above my .mts clip in premiere and zoomed into 100 percent in the program monitor and turned on and off the video track for the mp4 clip and found no quality difference at all from the .mts avchd clip. I then added a few lumetri color settings and even scaled the clip itself to make it extreme. I exported the .mp4 again with the scale and lumetri color settings to another h264 .mp4 file with the same settings as before in the export window. Low and behold no quality degradation in premiere from the first .mp4 clip. Question is this. how many more times can I seriously keep exporting a .mp4 clip before degration occurs? Since it appears I can at least export once if not twice from .mp4 I see no reason why I can't convert my AVCHD clips to .mp4 and edit with those which would enable me to label my clips in windows explorer and not have to deal the card structure of the AVCHD files. I do not like it when the clips are unnamed and I can't rename them or the card structure gets broken but if I have .mp4 clips it's easier. Am I right to assume AVCHD is h264 anyway?
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‎Mar 30, 2018
04:10 PM
there is a plugin to display IRE levels in false color mode. Pink for example is 60IRE It shows colors over the image and the different colors represent IRE values. Field Monitors have this. Here is the plug in I bought for Premiere. https://timeinpixels.com/false-color-plugin/
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‎Mar 30, 2018
08:22 AM
1 Upvote
if you get the false color plugin it shows you all the data levels that don't show up on the waveform. I have it and it shows you all the blown spots. atomas setting in the false color plugin is the monitor setting on my field monitor. It's a little confusing at first because the false color plugin changes the waveform in the scopes but what it really does it show you 0-100. Once you get the false color the way you want turn off the false color and the waveform matches what you just saw in the false color.
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‎Mar 30, 2018
08:20 AM
3 Upvotes
I don't know if anyone else here has seen this. MBR Color Corrector 2 It's a color checker chart plugin for Premiere Pro CC 2018 and lower. Just stumbled upon it. I tried the free trial and it works. You can even change the colors on the chart if you have a different one. This is going to be easier than having to export an XML file and import into Resolve. Free version also only supports 8 bits per channel but I'm not sure what that means when Premiere automatically up converts to 32 bit. But I also think buying this is worth it.
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‎Mar 29, 2018
06:57 PM
‎Mar 29, 2018
04:02 PM
Funny you should say that. As I moved the white slider up and not down all of the sudden the waveform started to go above 100 IRE. also it seems if I roll of the highlights in the curve section the waveform acts normal. Weird
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‎Mar 29, 2018
03:12 PM
Is there a way to change the range display on my lumetri scopes?
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‎Mar 29, 2018
11:30 AM
well this is weird. I also have a section of my timeline I transcoded to cineform and if I turn the exposure all the way up the waveform monitor does not go above 100. Clamp is turned off and I'm on float. However the same media which is in .mts goes above 100 IRE with the waveform monitor when I'm halfway up on the exposure in the lumetri color panel. Why does Cineform refuse to go above 100 IRE?
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‎Mar 29, 2018
11:13 AM
hmmm. What I mean is the data changed. I know I said missing but that was the wrong word. The original .mp4 file shows a black shirt at 10 but transcoded using the DNX HQ 1080p 29.97 built in setting in media encoder shows the black shirt at 20. It's definitely the shirt because I have cropped in on the shirt on the same portion on both the native and transcoded clip. Also someone told me in person to never color correct native footage as it messes up banding but I have never seen banding with native footage. Even when I transcoded to cineform I see no banding either when I change the color. Premiere isn't changing the file it's just a reference to itself.
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‎Mar 29, 2018
10:53 AM
Hello, I am looking into purchasing a field monitor that records via SDI out on my camera in 10 bit to DNXHD format. Upon doing some tests and transcoding my mp4 file to DNXHD the DNXHD files have missing data in the Waveform Scopes in Premeire Pro CC 2018. Example is the blacks in the DNXHD clip are at level 20 while the native mp4 clip is showing a black level of 10. I'm fearful if I buy a field monitor it will record via SDI output and have wrong Waveform data. Anyway to resolve this issue if the built in format from the field monitor does this? Maybe it's just a transcoding error and not an actual recording error. the field monitor also allows for ProRes which I want to avoid since I'm on a Windows PC.
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‎Mar 29, 2018
09:24 AM
I have tried to transcode subclips but when I did it lost the ability to expand and shorten the start and tail of the clips. Also it seems when I tested it (unless I did it wrong) that if you try changing the exposure etc with lumetri color there is banding and the footage is washed out. It doesn't do this the regular mp4 files. Is there anyway to transcode the subclips while having 10 or so second handles so I can extend or shorten the front and tail ends? This is crucial because the crossfades don't always get applied to the center of the clips unless you have enough at the start and tail of each clip
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‎Mar 29, 2018
07:15 AM
well I might have answered my own question. Looking at my camera manual it seems I can install some canon software and connect my camera to my PC and trim clips with the SD card in the camera. What I will do though is backup the card first before I do this
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‎Mar 28, 2018
12:47 PM
okay thanks
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‎Mar 28, 2018
12:26 PM
but if I had an mp4 and export again to mp4 wouldn't the quality decrease? At some point the customer wants me to edit the clips into a video for him with crossfades color correct etc but he wants to preview them in shorter clips on his ipad as he's traveling soon and he can't seem to get cineform etc to work on the ipad as we already tried it
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‎Mar 28, 2018
12:11 PM
hmm, customer wants to trim here to there so looks like this won't work. As a work around could I use media encoder and select in and out points from the mp4 file and transcode to cineform then re encode that to a new mp4 file? I know that seems tedious but wondering if that would be a work around for the customer wanting it to be in mp4 without quality loss.
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‎Mar 28, 2018
11:35 AM
Is there a program I can use that can take an existing .mp4 file and trim start and end times and overwrite the file without re encoding it to maintain the quality? I was given some .mp4 footage to edit and the customer wants me to trim the clips up for him but not lose quality and he wants to retain similar file size and does not want it to be in another format. thanks
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‎Mar 26, 2018
09:40 AM
oh, so do I have to disable the cross fades before I apply the adjustment layer?
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‎Mar 26, 2018
09:18 AM
Not sure I understand. Here is a screenshot of what I have. As you can see I'm in the middle of the cross fade which is in another sequence and i have the adjustment layer in a nested sequence. I have cut the adjustment layer which has a different setting in the lumetri color panel. The color only changes to what I want it to after the crossfade finishes but not in the middle of the cross fade.
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‎Mar 26, 2018
08:53 AM
Is there a way to use an adjustment layer to color correct so that when a clip under the adjustment layer cross dissolves it color corrects the next clip that is in the cross dissolve? Currently I have the lumetri color enabling both clips but i want to use the blade tool to cut the adjustment layer so that when the cross dissolve happens the next clip that it fades into is a different lumetri color option than the first clip.
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‎Mar 24, 2018
01:38 PM
Hello, I've been curious why DNXHD is the only format (at least to my knowledge) that has frame rate options next to them. Like there is DNXHD SQ 29.97,59.94 etc while Cineform and other formats don't have a frame rate choice. Why is this? Is there really a problem if I transcoded native footage shot in 29.97 but accidentally use the DNHXD 59.94 version? To me it's a file so how would it know the difference when it's just transcoding? Would like to understand. Thanks, Bryce
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‎Mar 09, 2018
12:07 PM
wait, but can't I enter a clip name in the metadata in premiere? I thought I could. Even if I transcoded I would be wasting disk space especially if I put them on my SSD. Perhaps transcoding them and putting those on an HDD and then using the proxies on my SSD will help? The only advantage for trasncode is the timecode resets to zero on each clip so it's easier to search by time code per clip if I need too and another advantage to it is I can send off a transcoded clip to a customer for review vs the whole SD card folder structure which could confuse the customer. Perhaps if I'm doing a rough cut or someone just wants raw footage of an event without any editing I could just slap together all the native media back to back in a timeline and export as mp4 but if it really needs serious organization then i could use prelude. The only thing i haven't figured out if syncing custom metadata to premeire from prelude.
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