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Is there any way to keyframe a mask type? For example, I have one mask that's currently to 'Subtract'. I want that same mask to smoothly transition to 'Add' (or even Intersect, depending on how the rest of my video goes).
melon cat fucked around with this message at 21:48 on Jul 5, 2016 |
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Jul 5, 2016 21:42
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melon cat posted:Is there any way to keyframe a mask type? For example, I have one mask that's currently to 'Subtract'. I want that same mask to smoothly transition to 'Add' (or even Intersect, depending on how the rest of my video goes). There's almost definitely not a way to SMOOTHLY transition, since there isn't really any such thing as being "between" mask types. Your best bet is probably to duplicate the layer, have one set to add and one to subtract, then do an opacity fade between them.
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Jul 5, 2016 23:04
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melon cat posted:You did a good job piecing together that video, by the way. It was well done. Thanks! I have no idea what I'm doing. All I've ever edited were some animations and comedy sketches years ago.
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Jul 5, 2016 23:16
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Lizard Combatant posted:Anyone have advice for a good grading monitor? It's time to return the Flanders I've been using on extended loan But something like a Flanders or an Ezio is the next step up.
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Jul 6, 2016 00:39
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WebDog posted:I just got a Dell UP2716D, which arguably is a poor man's monitor (around the $1000 mark) yet it does 100& R.709, sRGB, and Adobe with 98% DCI-P3. You do have to cough up an extra $200 or so for the colour calibration gizmo. Thanks mate, I'll check it out.
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Jul 6, 2016 01:45
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melon cat posted:Then click 'Export'. Then that's it. So I've tried this a couple times. I haven't tried uploading it to youtube yet, because when it finished exporting I can't play the file in VLC or Windows media player. Is that normal? Also when I click Use Maximum Render Quality it always flips the Preset back from Youtube 1080p to custom. Don't know if I should be worried about that.
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Jul 6, 2016 16:27
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Unmature posted:So I've tried this a couple times. I haven't tried uploading it to youtube yet, because when it finished exporting I can't play the file in VLC or Windows media player. Is that normal? VLC should def play it (it's an .mp4 right?) - are you getting a codec error or anything? Does it play sound no video? Can you go into VLC media tools and verify the codec for the clip? As for the second bit - nothing to worry about there. The second an option is changed from whatever the preset has, the title switches to "custom." All of the other settings that were in the preset, that you didn't change, will still stay the same.
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Jul 6, 2016 17:00
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Alright Post-Goons, I need some help here. I'm just getting back into the game after a couple years off, and am about to tear my hair out over this. I have a solid chunk of Canon XF footage which I have captured and can view using the latest Canon XF Utility. I'm trying to get this stuff into FCP7, but it looks like the Canon XF plug-in is only for FCPX. Is there a way to transcode this stuff into .MOV or DVCPRO or whatever so that FCP7 can read it? Or do I have to download some bullshit conversion software? Any help here would be much appreciated.
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Jul 6, 2016 19:37
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Unmature posted:So I've tried this a couple times. I haven't tried uploading it to youtube yet, because when it finished exporting I can't play the file in VLC or Windows media player. Is that normal? VLC should play just about everything, so that definitely isn't normal. What kind of error is it giving you? What kind of video extension does your exported video have? .MP4? Did it create a super-large filesize that might be giving your laptop playback issues, maybe? As for your second question- if you tick the "Maximum Render Quality" box after selecting the YouTube Preset, Premiere should still export a YouTube-compatible video. Premiere would just add the "Maximum Render Quality" parameter to whatever settings it pre-selects for YouTube videos. Try to Export without ticking the Max. Render Quality Box, and see if that fixes your playback issue. Chitin posted:There's almost definitely not a way to SMOOTHLY transition, since there isn't really any such thing as being "between" mask types. Your best bet is probably to duplicate the layer, have one set to add and one to subtract, then do an opacity fade between them. melon cat fucked around with this message at 19:44 on Jul 6, 2016 |
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Jul 6, 2016 19:40
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Chill Penguin posted:Alright Post-Goons, I need some help here. I'm just getting back into the game after a couple years off, and am about to tear my hair out over this. I have a solid chunk of Canon XF footage which I have captured and can view using the latest Canon XF Utility. I'm trying to get this stuff into FCP7, but it looks like the Canon XF plug-in is only for FCPX. Is there a way to transcode this stuff into .MOV or DVCPRO or whatever so that FCP7 can read it? Or do I have to download some bullshit conversion software? Any help here would be much appreciated. Don't know about FCP7, but If you're worried about downloading junk conversion software you could just download a month trial of Premiere and transcode to ProRes or DNxHR or whatever. Not a long term solution obviously, unless you want to make the jump to Premiere or Avid.... Lizard Combatant fucked around with this message at 20:21 on Jul 6, 2016 |
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Jul 6, 2016 20:17
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Chill Penguin posted:Alright Post-Goons, I need some help here. I'm just getting back into the game after a couple years off, and am about to tear my hair out over this. I have a solid chunk of Canon XF footage which I have captured and can view using the latest Canon XF Utility. I'm trying to get this stuff into FCP7, but it looks like the Canon XF plug-in is only for FCPX. Is there a way to transcode this stuff into .MOV or DVCPRO or whatever so that FCP7 can read it? Or do I have to download some bullshit conversion software? Any help here would be much appreciated. Which XF? With my XF300 you had to do some malarky with telling FCP that it was Sony XDCam footage to edit native. I don't really remember since this was a long rear end time ago. There was also definitely an XF plugin for old school FCP.
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Jul 6, 2016 21:24
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I think the old Sony XDcam plugins worked with the XF, but I can't remember. I think there was some other plugin that allowed native editing of multiple codecs within FCP7, but for the life of me I can't remember what it was called.
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Jul 6, 2016 21:29
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powderific posted:Which XF? With my XF300 you had to do some malarky with telling FCP that it was Sony XDCam footage to edit native. I don't really remember since this was a long rear end time ago. There was also definitely an XF plugin for old school FCP. Indeed XF300. If nobody can remember what they used then I'll try the Premiere trial method. Latest CC, or is there an older version that's better for this?
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Jul 6, 2016 21:42
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Chill Penguin posted:Indeed XF300. If nobody can remember what they used then I'll try the Premiere trial method. Latest CC, or is there an older version that's better for this? Link to a utility here: https://forums.creativecow.net/thread/8/1140810 But I'm sure I just used the Canon Log and Transfer plugin
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Jul 6, 2016 22:35
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I am 100% sure I used the Canon plugin with FCP7. After googling a little it's a setting where you log and transfer as native codec and it just rewraps everything so there's no transcode step. I found a guide to doing what I did: http://blog.abelcine.com/2012/02/07/how-to-import-c300-footage-in-avid-fcp-x-and-premiere/ The title says FCP X but it actually has instructions for 7. Edit: and the plugin is still available from Canon: https://www.usa.canon.com/internet/portal/us/home/support/details/cameras/cinema-eos/eos-c300?tab=drivers#Z7_MQH8HIC0L88RB0AMD0F1Q42K25 I set the OS to OSX 10.7 and it was under software. There's a FCPX version at the top, and then the older versions down towards the bottom. powderific fucked around with this message at 23:27 on Jul 6, 2016 |
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Jul 6, 2016 23:21
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melon cat posted:VLC should play just about everything, so that definitely isn't normal. What kind of error is it giving you? It's an MP4 and VLC says "VLC can't recognize the input's format". No error code or anything.
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Jul 7, 2016 01:07
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Lizard Combatant posted:Aye that's what I'm looking at, just wondering if there's anything amazing in the world of calibrated monitors that's come out recently before I blow nearly $3.5k of our banana republic, wooden dollars. Colorist here. Most calibration tools you buy at the lower levels, (spiders and the like) can cause more problems than they solve. Color Calibration is a really frustrating dark art, with many people shilling poo poo that have no idea about. Dells are good for UI monitors, and they're trying, but they're not perfect. But for your main reference, just get a flanders. They come calibrated, and you can send them back for re-calibration, and they do know what they're talking about. They're the only solution unless you really know your poo poo, or can hire *really* good calibrators.
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Jul 10, 2016 04:47
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Unmature posted:It's an MP4 and VLC says "VLC can't recognize the input's format". No error code or anything. What you'll want to do is delete Premiere Pro's Media Cache. I've found that this sometimes fixes any off export issues that I run into. this video explains how to clear the Media Cache. Once you've done that, try to Export again.
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Jul 10, 2016 04:58
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Armagnac posted:Colorist here. Thanks for this. Flanders it is
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Jul 10, 2016 05:37
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Just to re-iterate - the Dell I suggested is calibrated from the factory but you are getting what you pay for as it's on the cheap and cheerful range and as noted it's not really meant for serious colour work. A Flanders is on my wish list when I can afford to drop $2000k and more for shipping.
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Jul 10, 2016 06:04
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WebDog posted:Just to re-iterate - the Dell I suggested is calibrated from the factory but you are getting what you pay for as it's on the cheap and cheerful range and as noted it's not really meant for serious colour work. A Flanders is on my wish list when I can afford to drop $2000k and more for shipping. I did look them up and they look great for the money. But for this kind of investment, I have to go with what I'm familiar with.
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Jul 10, 2016 06:12
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We use Flanders in our color suite, but we also have a DreamColor (HP) display on our DIT Cart (big shoutout to Bigfoot Mobile Systems by the way!). It's pretty good, but even at $1500 - I'd still spend the extra grand or two or on FSI. Sorry this post isn't really that useful other than if you need something a little less expensive for out in the field work, the DreamColor works fine.
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Jul 10, 2016 15:55
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melon cat posted:It sounds like your Premiere Pro's exported video was corrupted, somehow. I've had this happen to me, especially when I've been working on a lot of videos with a lot of clips, causing my Media Cache to get bloated. Thanks, I'll try that when I get a chance. Maybe later tonight.
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Jul 10, 2016 17:39
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Armagnac posted:Colorist here. I hope you don't mind me asking about colour calibration, but it's something that has always confused the gently caress out of me as a photographer. Let's take the workflow Digital Photo -> Inkjet Print, which involves these elements that are affected by a colour profile:
Is this roughly correct? Most stuff I find online never really say anything about how all these profiles interact with each other, if any.
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Jul 11, 2016 13:34
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I got an SSD to help with my Resolve stuttering woes, along with spending a bunch of time tweaking how it should cache the files. It now can cache the clips okay, but the moment I scrub (even with node caching, input and output caching on) it forgets the cache and has to rerender the whole clip again. It also does this when switching from clip to clip sometimes, so I'll have the whole timeline cached, it will play through the first clip fine, then hit the second and the whole blue bar turns red  . I don't understand what's going on at all, the research I've done says that if a clip is cached I should be able to play it back until I make a change to it, and I don't think going back to the beginning of the timeline should count as a change. It's even saving the caches fine, I can watch the folder balloon in size after setting it up... It's only happening with EXRs though (albeit single and multilayer), video files get realtime playback, so I think just doing the comp stuff ahead of time in fusion/nuke and rendering out as some other format should work fine. I've actually seen way better results in Nuke and Fusion (in nuke I can get realtime playback of a 720p multilayer exr, only needs to cache when I start adding nodes), which is awesome and what I was hoping for. My system may be pretty old and not really cut out for video production, but this extra bit of speed I've been able to squeeze out of it has helped a ton.
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Jul 11, 2016 15:13
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Fragrag posted:Is this roughly correct? Most stuff I find online never really say anything about how all these profiles interact with each other, if any. Pro monitors like Flanders or Ezio have built in LUTS to convert the signal without having to either put a filter onto the video and usually it's fed from a switcher so you don't have a monitor profile in the middle throwing something off. One headache to be aware of is that if you are taking screengrabs for clients be aware that any compression will possibly remove the ICC profile out of the image and your browser will simply use the monitor's colour space as a substitute. So images will have their gamut stretched out to match whatever it's set on and really bugger up it's look.
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Jul 11, 2016 16:18
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Another thing too is that video cards can have their own colour and gamma settings adding another step in the chain. They can be turned off in your card's utility though.
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Jul 11, 2016 17:17
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Lizard Combatant posted:Another thing too is that video cards can have their own colour and gamma settings adding another step in the chain. They can be turned off in your card's utility though. I've personally had some weird issues related to this; sometimes my system will randomly decide it wants to use the nVidia color settings instead of the system ones, and I'll be left scratching my head as to why everything is dull and dark.
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Jul 11, 2016 17:20
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The Gasmask posted:I've personally had some weird issues related to this; sometimes my system will randomly decide it wants to use the nVidia color settings instead of the system ones, and I'll be left scratching my head as to why everything is dull and dark. Yeah I was going nuts trying to print something on a work computer that was all washed out until I realized nVidia had the gamma lowered 
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Jul 11, 2016 17:23
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Fragrag posted:I hope you don't mind me asking about colour calibration, but it's something that has always confused the gently caress out of me as a photographer. My understanding of print workflows is that they're wildly different and completely incompatible with video workflows. Theoretically print should be harder, since CMYK translating into RGB is hard, but print has more standards and solutions. Video doesn't really have as many standards, and standards organizations in the video side (like SMPTE & EBU) didn't use to talk to the cinema side (this is changing). It was only last year or two years ago that they adopted an agreed upon white point and brightness level for rec.709. Print was driven by advertisers who you can be drat sure would go crazy if tide orange wasn't tide orange. TV manufacturers had no such responsibility to the Ad world. TV Manufacturers are trying to sell you their TV's in a big box next to hundreds of other TV's, So gimmickery and making the image pop under bright fluorescents > accuracy. The Gasmask posted:I got an SSD to help with my Resolve stuttering woes, along with spending a bunch of time tweaking how it should cache the files. It now can cache the clips okay, but the moment I scrub (even with node caching, input and output caching on) it forgets the cache and has to rerender the whole clip again. It also does this when switching from clip to clip sometimes, so I'll have the whole timeline cached, it will play through the first clip fine, then hit the second and the whole blue bar turns red Hmmm.... That sounds really strange, although I rarely deal with EXRs. It may be a permissions issue with where your render cache is, I'd try moving it. I'd call Blackmagic, you can usually get someone there on the phone. Are you on PC or OSX resolve?
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Jul 12, 2016 03:29
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Armagnac posted:Hmmm.... That sounds really strange, although I rarely deal with EXRs. It may be a permissions issue with where your render cache is, I'd try moving it. I'd call Blackmagic, you can usually get someone there on the phone. Are you on PC or OSX resolve? On resolve for Windows. I'll check the permissions - I've been having some odd issues related to that which first reared it's head while trying to use Renderman, and it's likely my fix only partially solved things. I only discovered the issue in the first place because Renderman was telling me my drive was write protected even though I'd been reading and writing to it daily with no issues, and some searching showed the permissions were all screwy. Also just realized the Resolve files I've been using have been carried over from one drive to another, so if it's a permissions issue with the actual project file the fact that I moved my cache location might not matter. Need to try a new project and see (the first thing I should've done, but oh well). Thanks for mentioning that btw, I'm not sure I would've considered it could be permissions since I thought I fixed it, but we all know how that goes... E: You were right, it was permissions!!! Started a new project with everything set up fresh on the SSD, and I can scrub, add clips, etc all I want and it doesn't reset the cache. This makes me a happy man! The Gasmask fucked around with this message at 17:11 on Jul 12, 2016 |
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Jul 12, 2016 06:09
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Here's one that's been puzzling me but I can't find an answer. Converting h.264 or ProRes to DCP via DCP-O-Matic or AME. I have this weird bugbear that something might need to be done to the video before exporting it out to fix any possible colorspace conversion quirks but I can't find anything that indicates any possible issues. While I've done many DCPs with no issues, save for people realising that trying to grade on an iMac monitor on 8bit video isn't all it's cracked up to be, is there anything I've missed by simply shoving the video file into the grinder? BogDew fucked around with this message at 15:16 on Jul 12, 2016 |
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Jul 12, 2016 15:13
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If you're set for 2.4 gamma - Rec 709. DCP-O-Matic can give you a mathematically perfect P3 - X'Y'Z' conversion. Nothing needs to be done before, although I would make sure you have a DCI theatre to test your DCP afterwards because a lot can go wrong in terms of the DCP's metadata. That said, your point of failure is your iMac monitor. There are SO MANY WAYS it can be sooooo wrong it boggles the mind. You're better off with a dell ultrasharp monitor out of the box than an iMac or (worse) a cinema display. About 90% of complaints I get are because of wierd cinema display / retina display issues, where it for some reason decided that to display your video, it needed to severely change the gamma. As with most things, you can blame quicktime. I haven't tested AME's DCP's for accuracy but I know they all come out looking very unprofessional, as they have bad/empty metadata fields.
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Jul 12, 2016 20:33
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Thanks for confirming my suspicions about AME. I'm fortunate to have access to a proper cinema to test things. On some projects the gamma goes completely to hell and we're not sure why. As for setting 2.4 gamma, is that something to adjust on the video before transcoding to DCP or a monitor profile? iMac nightmares are usually indie projects who don't quite know what they are doing in post or understand what ungraded footage is meant for.
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Jul 13, 2016 02:55
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Monitor setting.
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Jul 13, 2016 17:43
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melon cat posted:It sounds like your Premiere Pro's exported video was corrupted, somehow. I've had this happen to me, especially when I've been working on a lot of videos with a lot of clips, causing my Media Cache to get bloated. This worked! Thank you!
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Jul 14, 2016 04:09
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Unmature posted:This worked! Thank you! 
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Jul 14, 2016 15:15
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melon cat posted:Glad to hear! As you work through more projects, you'll discover how glitchy and weird Adobe CC can be. 
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Jul 14, 2016 15:25
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powderific posted:I am 100% sure I used the Canon plugin with FCP7. After googling a little it's a setting where you log and transfer as native codec and it just rewraps everything so there's no transcode step. I found a guide to doing what I did: http://blog.abelcine.com/2012/02/07/how-to-import-c300-footage-in-avid-fcp-x-and-premiere/ thehustler posted:Link to a utility here: https://forums.creativecow.net/thread/8/1140810 THANK YOU!!!!!! I guess I just had the wrong XF Plugin - the one linked in that ablecine blog post did the trick.
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Jul 14, 2016 16:35
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Hey can anybody with the very latest update of AME see if the H264 audio glitch is happening with them? Coming out of After Effects (again very latest edition) - 100% of any AME export to straight h264 or using the YouTube preset (which of course is h264) presents an audio glitch where the last few seconds of audio are actually a chunk of audio from about 6 or 7 seconds prior. For example: "Go online and check us out for a free tri- go online and check." This has only happened with the latest updates of all CC software and happens 100% of the time across a multitude of projects. But I want to see if it happens for other folks.
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Jul 14, 2016 22:50
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