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I'm trying to figure out if I need a new computer or if Speedgrade is just fundamentally a terrible program. When I direct link between speed grade and premiere, the color wheels and sliders tend to lag 5 to 15 seconds behind my input. And once I bring the project back into Premiere, I have a similar lag on moving the playhead. I've done two short web videos with the delay and wanted to die. Resolve works adequately—no realtime playback or anything, but the interface responds fine. The issue is I always have to make a lot of edits after color correct and I'll often have a series of videos that pull from the same pool of original clips. It'd be super convenient with both situation to have direct link and master clips working. My system is an early 2011 MacBook Pro, 2.2 Ghz i7, 16gb RAM, 6750m 1GB Radeon, 750GB hybrid OS drive, 4TB USB 3.0 drive with footage through a Caldigit Thunderbolt interface. I've tested out the same project on a newer Retina MBP with higher clock speed, 8GB of RAM, PCI-E SSD, and an nvidia GPU with I'm not sure how much memory. On the newer system it seemed to be much more responsive with no noticeable lag, but I didn't have a lot of time to test. I'm wondering if the problem is storage speed, processor speed, GPU, or some other problem with my system/Speedgrade. If simply upgrading to a newer MacBook would taker care of the issue that'd be great, but that seems too easy.
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Oct 27, 2014 23:48
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powderific posted:I'm trying to figure out if I need a new computer or if Speedgrade is just fundamentally a terrible program. When I direct link between speed grade and premiere, the color wheels and sliders tend to lag 5 to 15 seconds behind my input. And once I bring the project back into Premiere, I have a similar lag on moving the playhead. I've done two short web videos with the delay and wanted to die. Resolve works adequately—no realtime playback or anything, but the interface responds fine. The issue is I always have to make a lot of edits after color correct and I'll often have a series of videos that pull from the same pool of original clips. It'd be super convenient with both situation to have direct link and master clips working. I don't think you should have that kind of lag, BUT Speedgrade is a terrible program so who knows. But what kind of workflow are you doing where you make tons of edits AFTER the color grade?
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Oct 27, 2014 23:56
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Sounds like your GPU doesn't get along with whatever frameworks are underlying in Speedgrade. Speedgrade sucks anyways, don't use it.
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Oct 28, 2014 00:45
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BonoMan posted:But what kind of workflow are you doing where you make tons of edits AFTER the color grade? We have quite a few projects where the creative director wants to push ahead and get a final version done so we can show it at an event or push it out with a launch. Then, after whatever deadline we're rushing for, go back make changes based on client feedback or just wanting to change it more. Or they're making changes so close to when we need the final that I have to get started on color correct or it won't get done at all.
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Oct 28, 2014 01:25
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If you're not using a lot of power windows you could do the grade in Resolve and output to LUTs, then apply in Premiere. Bit of a pain but keeps your workflow flexible, and you can always apply your secondaries in Premiere and/or go back to Resolve for the final final grade.
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Oct 28, 2014 18:08
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I've had the same sort of issues with being rushed into color before picture locks, I've had moderate success just rendering out the color with 2 second handles and spitting the XML back into Premiere/FCP/Avid, which usually accomodated 99% of changes after the fact. Anything extra could just be graded as a pickup.
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Oct 28, 2014 22:55
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RaoulDuke12 posted:I've had the same sort of issues with being rushed into color before picture locks, I've had moderate success just rendering out the color with 2 second handles and spitting the XML back into Premiere/FCP/Avid, which usually accomodated 99% of changes after the fact. Anything extra could just be graded as a pickup.
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Oct 29, 2014 02:35
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RaoulDuke12 posted:I've had the same sort of issues with being rushed into color before picture locks, I've had moderate success just rendering out the color with 2 second handles and spitting the XML back into Premiere/FCP/Avid, which usually accomodated 99% of changes after the fact. Anything extra could just be graded as a pickup. If you're working in Premiere you can actually make pseudo power windows using the title tool, so yeah this could work. But its way less hassle to either do it all in Premiere or to get a picture lock and grade in Resolve.
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Oct 29, 2014 02:41
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magnificent7 posted:I'm interested in changing careers, moving into motion graphics, video editing, etc. GOD I wish I understood any of what you just said. (I have so much to learn.) Well to loosely translate. A picture lock is when every cut in an edit is agreed upon and we don't touch it, ever again! It was especially important during the film and tape era as everything, such as sound synch and dissolves or wipes, were dependant on having the frame numbers match. Any deviations, or sneaky edits, would result in stuff sliding out of synch, usually followed by tears and attempted murder. When your picture is locked, then you usually grade - which is tweaking each shot to match colour and exposure so it doesn't look off shot by shot. Typically when your footage was sent off to be graded, only the used portion of the clip was extracted for grading. You were unable to drag out the clip or make any drastic changes - it's a completely separate print from what you were editing - thus locked. Handles are referring to additional footage located outside of a a clip's range. So say we have a 5 second extract of a 10 second clip, adding two seconds to the start and end allows for a bit of wiggle room when moving footage across workflows should something like a fade or a minor tweak need to be added in. Programs like SpeedGrade do a non destructive form of grading where it references the Premiere project and applies the grade as an effect on the clip. This means you are able to tweak the edit without having to revert back a major step. XML in this case is referring to an edit decision list. An EDL is a list of each shot, what reel it came from and how many frames it's using. In the past it was used to transfer data across film and tapes or from system to system, allowing for an exact match regardless. XML expands on this by including additional metadata, such as log notes and descriptions and even effects. It's also makes it easier to transfer entire projects across programs or do "roundtrips" through grading systems such as Resolve. It's also one way to backup and "future proof" edits as programs will change drastically over the years. A pickup is anything additional to be shot or worked on after the main work is considered mostly locked off. It's usually done during the edit when it's realised there's a shot that needs to be inserted to help convey missing information, such as a reaction.
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Oct 29, 2014 03:05
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Haha very well put. I take the jargon for granted sometimes. And yeah don't let the terminology intimidate you, it's not as complicated as it sounds. The computer does most of the work.1st AD posted:If you're working in Premiere you can actually make pseudo power windows using the title tool, so yeah this could work. Oh I was actually talking about doing the grade in Resolve, but that's interesting.
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Oct 29, 2014 03:18
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If you don't want to roundtrip to resolve for every single project just get Colorista / Looks. Almost all the functionality right inside premiere.
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Oct 29, 2014 11:27
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RaoulDuke12 posted:I've had the same sort of issues with being rushed into color before picture locks, I've had moderate success just rendering out the color with 2 second handles and spitting the XML back into Premiere/FCP/Avid, which usually accomodated 99% of changes after the fact. Anything extra could just be graded as a pickup. What's your workflow between Premiere and Resolve? The last few times I've used it the simplest thing seemed to be just running scene detect. But on the last couple projects I had the previously mentioned quick edits plus a lot of fades and overlays so SpeedGrade seemed easier. After doing a bit more research it looks like I'm far from the only person who has had the issue, and one guy was running a very man cored new MacPro, so it may not be a computer speed thing. I do wonder if it's related to AMD GPU's not working as well with Adobe products. For Colorista, the last time I used it I remember it actually having pretty crazy lag within Premiere too. This was a few years ago though. Apparently at the time Adobe's method for third party plugins to do UI stuff caused major lag in Premiere but worked fine in After Effects, so their recommended workflow was to do it all in After Effects (which isn't ideal, obviously).
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Oct 29, 2014 16:01
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Colorista is slow as poo poo and you only get one window. I mean that might be overkill for some but if I'm going to sit down and do some serious color work I end up with like 6-7 nodes per shot in Resolve. Also good luck with rendering anything out, Colorista in your timeline is slower than Resolve by a mile. And if I don't want to do that much work, the RGB curves in Premiere are much easier to work with than anything else.
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Oct 29, 2014 17:50
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WebDog posted:Well to loosely translate.
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Oct 29, 2014 18:42
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powderific posted:I do wonder if it's related to AMD GPU's not working as well with Adobe products. However the FirePro 300 and 500 of Mac Pros is supported from CC14 onwards. The list so far. Adding an "unsupported" card will work, but there's the risk of the GPU getting overloaded and stalling if you start doing intensive effects, like forcing AFX to ray trace. Edit: It seems with CC 14.1 Adobe's removed the cuda_supported_cards.txt file and card by card support appears related to drivers. On Windows you can still force unsupported cards by going into the Nvidia control panel, Manage 3D settings > Program Settings and then pick Premiere from the dropdown list and under CUDA make sure it's forced on. Haven't figured out how to do this on a mac. BogDew fucked around with this message at 11:47 on Oct 31, 2014 |
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Oct 30, 2014 01:08
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What is babby's first color, contrast, and tone correction software? Also, I have a Canon T2i that outputs in MOV files, "using variable bitrate MPEG-4 AVC / H.264 compression", would I want to keep it at that for the purposes of advertising webclips, or convert it to something else?1st AD posted:And if I don't want to do that much work, the RGB curves in Premiere are much easier to work with than anything else. Oh that may answer my question, I know the absolute basics of editing in Premiere, does it have a color/ contrast correction function in it? Tricerapowerbottom fucked around with this message at 03:16 on Nov 4, 2014 |
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Nov 4, 2014 03:14
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For the nerdier among you, I just found out that Autodesk matchmover and Autodesk composite are now free on all platforms and have been for some time. I'm not sure how good they are, but free matchmoving and compositing software can only be good right? I'm sure they are far better than the open source alternatives. Might be good for students too. Tricerapowerbottom posted:What is babby's first color, contrast, and tone correction software? Also, I have a Canon T2i that outputs in MOV files, "using variable bitrate MPEG-4 AVC / H.264 compression", would I want to keep it at that for the purposes of advertising webclips, or convert it to something else? Yup, Full Premiere has good colour control but really depends on what you want. How far are you planning to go? Are you looking to save money? Maybe tell us a bit about what you plan to do exactly in a bit more detail. If you want beginner, you may be happy with Premiere Elements or iMovie. Go with the full Premiere in my opinion if you plan to spend a lot of time with this. You also get Photoshop etc with your subscription. Davinci Resolve Light is also free and it does heavy duty film colour. It's harder to learn but you can edit in it if you have a great machine.
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Nov 5, 2014 14:37
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the_lion posted:For the nerdier among you, I just found out that Autodesk matchmover and Autodesk composite are now free on all platforms and have been for some time. Premiere Pro is great to learn curves, but I'd also second (third) Resolve Light. Especially if you're just starting to learn color then there's no reason to NOT start out on a free version of an industry standard. Will make transitioning later on easier.
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Nov 5, 2014 15:22
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the_lion posted:For the nerdier among you, I just found out that Autodesk matchmover and Autodesk composite are now free on all platforms and have been for some time. I'm not sure if the Windows / Linux versions fair any better, but for what it's worth both of these programs are just awful under OS X. You can tell MatchMover hasn't been optimized for the platform at all, given that it nearly maxes out my CPU just sitting idle and is just slow in general doing anything else. Composite is literally unusable because it crashes when trying to open a project, start a new project or import footage (best part: the Autodesk crash reporter that pops up after this happens hangs while trying to submit my report and has to be force quit). The reality is that both of these applications are showing their age and I'm sure Autodesk is perfectly aware that they are well out-paced by the competition in their respective categories (and even by some of Autodesk's own packages, e.g., Flame and Smoke), so I see this as Autodesk basically saying that they don't give a crap about continuing to support them in any serious capacity and just turning them over to anyone who might find them useful. It's great to have free options for VFX work, but I'd advise anyone looking to adopt these applications for their project to give them a serious trial run and consider paid alternatives before diving in.
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Nov 5, 2014 18:58
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Cyne posted:I'm not sure if the Windows / Linux versions fair any better, but for what it's worth both of these programs are just awful under OS X. You can tell MatchMover hasn't been optimized for the platform at all, given that it nearly maxes out my CPU just sitting idle and is just slow in general doing anything else. Composite is literally unusable because it crashes when trying to open a project, start a new project or import footage (best part: the Autodesk crash reporter that pops up after this happens hangs while trying to submit my report and has to be force quit). The reality is that both of these applications are showing their age and I'm sure Autodesk is perfectly aware that they are well out-paced by the competition in their respective categories (and even by some of Autodesk's own packages, e.g., Flame and Smoke), so I see this as Autodesk basically saying that they don't give a crap about continuing to support them in any serious capacity and just turning them over to anyone who might find them useful. Good to know. I think I won't bother installing those then!
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Nov 8, 2014 04:28
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the_lion posted:Good to know. I think I won't bother installing those then! Sorry for the double post, but people might be even more stoked that Fusion was made free today. https://www.blackmagicdesign.com/products/fusion There is a paid upgrade, of course but for free- hot drat!
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Nov 10, 2014 13:40
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Has anyone ever encountered the flashing green frame issue on Premiere? This is specifically happening on CS6 with a Mac Laptop (with Yosemitie). The video this student is trying to import into Premiere plays fine in quicktime, but when it's brought into CS6 it starts the flashing green frame nonsense. I don't believe it's a sequence problem because it happens in the preview window as well. Looking at the file, it's a quicktime 29.97i file. Why it's interlaced, I have no idea because it came from a camera that shouldn't be shooting interlaced. I have a feeling someone gave this student the file after encoding it in Media Encoder, and that it was possibly shot in 24, but I don't have access to the raw footage, so I can only guess. I've searched this all over and there doesn't seem to be a good answer anywhere, just un-resolved threads.
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Nov 12, 2014 22:49
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Is Mercury engine running on hardware or software rendering? Does the file flash green when stepping through frame by frame, or only on playback? What codec is the file using?
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Nov 12, 2014 23:05
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powderific posted:What's your workflow between Premiere and Resolve? The last few times I've used it the simplest thing seemed to be just running scene detect. But on the last couple projects I had the previously mentioned quick edits plus a lot of fades and overlays so SpeedGrade seemed easier. Premiere and Resolve aren't really good friends. But you can export an Final Cut XML out of premiere and bring it into resolve relatively easily. *Most* speed effects come through, and *Most* motion sizing comes through but there are annoying fixes you'll have to make with speed ramps & motion across files that don't match your sequence resolution. Still, I'd much rather deal with that than to grade in Speedgrade. I just don't know it well enough to slam it, but it just didn't work seamlessly when I tested it about 1.5 years ago. I used always go back to an NLE to do final outputs from Resolve, now I make all my final outputs from within Resolve, that their editing functions aren't bad.
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Nov 13, 2014 08:02
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1st AD posted:Is Mercury engine running on hardware or software rendering? Does the file flash green when stepping through frame by frame, or only on playback? What codec is the file using? 1) On the software side. 2) You see it when stepping through. 3) It says avc1 in the properties. The department that is handing the student these files is opening the memory card, opening the avchd package, and exporting through QuickTime. Yes, I know that is just wrong on many levels. Edit: I'm having a feeling that I need to re-encode this video file outside of premiere as Pro Res or h264 and then bring it back in. Now that I know what his codec is, when I search for it, it seems to bring up a constant stream of green flickering issues in google. Max fucked around with this message at 19:07 on Nov 13, 2014 |
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Nov 13, 2014 17:51
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Hey, does anyone know what's going on with my footage here? Previewing the raw file it looks totally fine, but once it's imported into premiere it gets this weird artifacting on the left side of the frame. I'm stumped  
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Nov 17, 2014 05:31
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Cutie Pie Swag~
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Is there a reason you're going raw into Premiere instead of generating proxies in Resolve and exporting an xml out to Premiere?
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Nov 17, 2014 07:40
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Mostly because I'm not the editor, he just hit me up scratching his head and so I figured I'd check the footage on my end to make sure everything wasn't completely hosed from the shoots. 
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Nov 17, 2014 11:40
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Max posted:1) On the software side. Nope, my theory didn't hold water. Also, this video file is so hosed up it's causing Avidmux to poo poo the bed. I don't know what to do about it.
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Nov 17, 2014 22:14
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the_lion posted:Sorry for the double post, but people might be even more stoked that Fusion was made free today. I would say Fusion is your best bet if you're looking for free compositing software, otherwise I would buy Nuke because it's industry standard, amazingly cheap for it's capabilities and it's future proof for the foreseeable future (not that I use it, I work with Flame but it's easy to see how good Nuke is) After Effects could be another choice, and because so many use it it's easy to find tutorials and even template work/projects to download for yourself, although it's better geared as a motion graphics tool imo.
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Nov 20, 2014 13:04
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Is Nuke really industry standard? I've never seen anyone use it here in the UK.
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Nov 20, 2014 13:22
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PriorMarcus posted:Is Nuke really industry standard? I've never seen anyone use it here in the UK. I've seen job listings for nuke artists at places such as MPC, The Mill, Double Negative, Prime Focus, Molinare... from what I can gather it's mainly used for Longform on a sinlge shot basis. The places I've worked in have been commercial so it's more of a focus on Flame/Smoke due to the smaller scale of the job, so you can run the whole thing out of one suite as opposed to a bunch nukes and then a Flame/Baselight/Resolve/Hiero etc. It's really big with the whole stereoscopic thing, which also feeds into longform.
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Nov 20, 2014 13:43
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PriorMarcus posted:Is Nuke really industry standard? I've never seen anyone use it here in the UK. Longform, yes. Shortform, usually a mix of AE & Flame/Smoke as Yes Man said, or mostly AE with a Nuke license here or there for finishing-- depends on the needs & studio.
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Nov 20, 2014 15:28
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Hey all, I'm running into some strange Premiere CC 2014 issues and wanted to get a second opinion. I'm editing footage that was shot in AVCHD on a Sony A7S. I converted the raw files to DNxHD 175 1080p 24fps through some batch ingesting with Prelude. Now that I'm in Premiere I'm getting some odd dropped audio and then preview lock up. It's taking me about 2-3 minutes to regain control of the software during one of these bouts, and then after 5 minutes of normal use it happens again. Any tips, tricks, ideas? I've scrounged through all of Adobe's documentation and they say to convert the footage to an intermediate, which I did already. Any help would be great. Thanks!
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Nov 20, 2014 22:33
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Does your DNxHD transcode retain the same frame rate, frame size, audio sample rate, etc as your original AVCHD files?
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Nov 20, 2014 22:34
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Looking at all of the project files and footage I'm getting this: Orig. FPS - 23.976 AUDIO - 48000Hz compressed MXF FPS - 24 AUDIO - 48000Hz 16-bit Project FPS - 24 AUDIO - 48000Hz 32-bit float Is the issue from the original FPS to the MXF's FPS? Will the project audio be an issue? I've not worked with AVCHD footage before so this is all new to me. Everything else is identical between the files besides what I noted. sophomorehoffman fucked around with this message at 22:49 on Nov 20, 2014 |
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Nov 20, 2014 22:45
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Try transcoding again at 23.976 and putting it into a 23.976 timeline. It shouldn't be an issue really, but I'm thinking maybe Prelude's encoder is bugged out. Alternatively, try transcoding in AME.
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Nov 20, 2014 23:15
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Working with the raw AVCHD files has me trucking through the edit pretty seamlessly. It's a short project ~8-10min long final piece. So I may just keep going how I am. I'll test the transcoding again later tonight/tomorrow though. Prelude kicks my batch ingestion to AME anyway, so I may just circumvent Prelude entirely. I'll let you know how it goes!
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Nov 20, 2014 23:19
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Oh yeah there's no good workflow reason for you to transcode with a project that size.
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Nov 20, 2014 23:26
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Yes Man Kablam posted:I would say Fusion is your best bet if you're looking for free compositing software, otherwise I would buy Nuke because it's industry standard, amazingly cheap for it's capabilities and it's future proof for the foreseeable future (not that I use it, I work with Flame but it's easy to see how good Nuke is)  Nuke is widely used in vfx studios because there simply was no alternative. Fusion never ran well under linux so that automatically disqualifies it from every big vfx house. Also the Nuke we use at work and the nuke you buy off the shelf from foundry are two very different things. If you are on windows there is absolutely zero reason to go with nuke over fusion unless you have 10k burning a hole in your pocket (plus 3k a year maintenance + render node costs). tldr: get fusion
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Nov 21, 2014 17:06
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