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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • rNeilrNeil

    There's been several threads involving "max render quality" and though I don't remember the whole shebang, basically ... it tells the software to do a bunch of extra dithering or whatever it is that for the vast majority of material doesn't do anything helpful and yet takes maybe (literally!) 20 times the time to render. And what it does do ... I've forgotten ... but when I read that bit, thought "Well, why did they call this 'max render quality' ?"

    So ... you're welcome to try it with that clicked, but ... not generally recommended. Unless you've got an extra day or so for your rendering-out. :-)

    The other thing is that people keep complaining about the process as for dvd, it renders out two files ... they think they should have only one. Nope, it's two files that Encore then uses to make the dvd/bd.

  • matt_gh2matt_gh2

    @rNeil Thanks - great info. Much appreciated. I have full CC and Encore CS6 so I'm set. So I should export media and choose MPEG2 Blu-ray, and then open that file in Encore for BluRay authoring? I guess my SD DVD would use MPEG2-DVD for DVD? Goal here is max quality - so if I check max render quality, wouldn't that be the best? (I'm doing a auto-play dvd with no menus and no chapters, so maybe max render quality will work without bugs given it's a simple Blu-Ray or DVD being burned?) Thanks a ton!!

  • rNeilrNeil

    @matt_gh2

    Here's the links ... all from a nifty guy over on the Adobe forum boards who put this and a whole bunch of other stuff like it together, 'John T. Smith' ...

    http://helpx.adobe.com/encore/kb/encore-cs6-installed-cc.html

    Using Premiere Pro CC and Encore CS6:

    CS6 is the final Encore http://www.adobe.com/products/encore/faq.html

    How to Install PPro/Encore CS6 http://helpx.adobe.com/encore/kb/encore-cs6-installed-cc.html

    -be sure to follow ALL instructions, including ALL of the download instructions that are contained in the site link INSIDE the link above, or you will not get ALL of the Encore content (download PPro/Encore and then TWO more downloads)

    You will then have (for Windows)

    C:\Program Files\Adobe\Adobe Encore CS6\Library

    C:\Program Files\Adobe\Adobe Encore CS6\Library\Corporate

    C:\Program Files\Adobe\Adobe Encore CS6\Library\Education

    ...and so on for all of the folders

    How to use Encore CS6 with Premiere Pro CC (NO Dynamic Link)

    http://tv.adobe.com/watch/davtechtable/using-premiere-pro-cc-encore-cs 6-for-bluray-dvd-and-interactive-video-for-ipadatv-and-mobile-hd/

  • rNeilrNeil

    I would note that after learning how (& why) the link from PrPro to Speedgrade & back works on the CC side of things, my ... that's bloody handy. Takes a few seconds to take a sequence over to Sg to do "dailies" corrections and come back after doing them. You do need to know at least three things:

    1) As this is "done" by having Sg work directly within the PrPro project file, they have put limits on the functions of Sg that can be used during a direct-link. As in, the timeline is LOCKED. You can move forward-back, but you cannot alter it in any way. You can't change any clip parameters as frame-rate, proportion, any of that. You'll have to do that in PrPro.

    2) You can't add grading layers to the timeline in a direct-to-Sg process, as per the note above. If you're going to need a layer above your clips for grading, put one or more adjustment layers over them in PrPro before going over to Sg. Then they're there and you use them as you would a grading layer.

    3) Auto-Save does NOT work during a "direct-link" session in Speedgrade! As this would be "allowing" Sg to change the basic PrPro project, it's not allowed. I found this out the unfortunate way ... and after posting my crash and loss of several hours work and asking why I couldn't find the auto-save files for that session ... found out the comments I just made. As it turns out ... a number of pro grading 'houses' were also watching that thread, and ... well, we realized we all needed to learn to manually save-as every few minutes while grading during a DL session. There's been numerous feature/wish-list requests filed to allow an auto-save-as control.

    As to PrPro to AeFx & back, quite a few of the pro type folks still do a digital-intermediate ("DI") path to use PrPro & AeFx as they find that for more major work tasks, the dynamic link between those two programs bollixes up a bit.

    Then cue it out to Encore to do your dvd, and ... it works pretty nicely. Most of the time, of course. Or they wouldn't need the forums for doofuses like me to ask dumb questions on would they? :)

    Neil

  • rNeilrNeil

    @matt_gh2 ...

    @jj4vr had the right comment. Encore CS6 still works about as good as anything, and he's right, you get it through your CC downloader thingie by choosing the CS6 family for "no extra charge". On the Adobe PrPro forum boards there's several threads with the detailed instructions ... just search for "Encore CS6 install" and you should find them.

    As to settings ... yea, the basic presets tend to be what most people use. There is one interesting note ... having "max render quality" clicked tends to WAY slow down the render and often actually just adds other problems. Not recommended and the first few times I tried to make a dvd ... of course I wanted "max quality"!

    Basically, use the presets and jiggle them if you need to change something. And there are numerous threads on dvd quality in the Adobe forums.

    Neil

  • jj4vrjj4vr

    I use Encore CS6 for DVD. It's included with the Adobe CC... you just have to install the Adobe Premiere CS6 family. http://helpx.adobe.com/encore/kb/encore-cs6-installed-cc.html

    I have had good luck just exporting out using the default DVD export settings.. Though I do seperate the audio out so I can create 5.1 source without using Surrcode.

    Good luck.

  • matt_gh2matt_gh2

    I'm on Adobe Creative Cloud and wanted to ask what does everyone recommend and use for taking a Premiere Project onto BluRay and DVD? I had looked at it over a year ago, and believe Encore was considered the best for quality, but don't know where things are now. Also what kind of workflow do you use going from Premiere all the way thru to BluRay (export settings, going from one program to another etc.)? My goal is maximum image and sound quality. Thanks all!

    @rNeil I have a feeling you may have some wisdom on this topic - are you around by chance?...

  • MikeLinnMikeLinn

  • rNeilrNeil

    Just tried to use the "speech analysis" funtion of Premiere Pro CC ... which actually invokes Adobe Media Encoder to do the job. Well ... not too successful.

    I tested a subclip of a 00:6:13 (six minute+) sequence first ... BIG mistake. Since then, with that bit of footage, no matter what I do it will ONLY "analyze" the 1-minute+ subclip part it first "saw". Not even on another sequence, ditching the cache, deleting the files AME made ... nothing. Apparently, it's ... stuck.

    Next ... this is HORRIBLE at "getting" standard American English ... less than 1/4 of the words that appeared in the text-analysis are actually spoken in the video footage ... which is a simple talking-head two-person interview, very clean sound no other noise.

    I've found that realistically, you need a transcript from Adobe Story to use as a base for the "speech analysis" function ... which will then take the transcript/script and plug it in frame-by-frame to the footage. Wish Adobe had used a better voice-recognition software basis, but oh well.

  • DrDaveDrDave

    @bwhitz exactly. I mean, if you are experienced enough to use raw, you are going to know the tonal range you need. Just set the Kelvin range manually and let the DSP handle it. Theoretically, this would make the files much smaller with minimal loss of quality.

  • bwhitzbwhitz

    Yea, I do like the "light-RAW" idea. Maybe 12-bit still... ISO range of +-200 and Kelvin of 2600-3400.

  • DrDaveDrDave

    re raw standard--has to happen sometime--you might also see something like "channel raw", where you have for example Kelvin range of 2600-3400. Most raw is wasted space.

  • rNeilrNeil

    It was interesting to see the "bts" sequences on the shooting of several of the Harry Potter movies. Some was dolllied, a LOT had multiple angles of dudes with steady-cams held out with both arms, another dude running near with each with an evf/monitor and focus-controls, and several dudes holding LONG mic booms ... as in, 30 feet (10 meter) mic booms.

    And ... off behind everything ... about 10-15 people working around MASSIVE rolling carts of recording/processing machines. With 10-meter tall green screens behind the set section running maybe 50 meters long. Yea, I think that was enough gear to be serious ... :)

    Neil

  • matt_gh2matt_gh2

    Lol

  • bwhitzbwhitz

    @matt_gh2

    What matters is emotion/passion/story/conflict/what characters do.

    No, it matter how big your camera appears on set. You can only make a serious story if you have a big matte-box and fallow focus. Actors will only give good performances if they think your camera looks "pro" enough. :)

  • matt_gh2matt_gh2

    @maxr Agreed. Tool almost irrelevant. What matters is emotion/passion/story/conflict/what characters do. We all love great tools but an SD cam, basic mic, and basic editor like windows movie maker is truly all needed to make great movie. Lesson for all - a reminder of what we all know but forgot.

  • maxrmaxr

    @Vitaliy_Kiselev

    You know, it feels that for quite a long time man was limited by his tools and, by experimentation most of the times, persevered in making better ones so to be able to express, to draw a clearer image... and lately my "impression" is of being media itself what is limiting men... losing sight of the "real" goal... which, if you ask me is understanding how be at peace with being alive.
    I guess that's a bit off topic and esoteric, je je

    Anyway, meanwhile in that move to (meta) perfection the boys and girls at Adobe inc could actually put some love into speedgraVe and start working in the VST thing =)

  • Vitaliy_KiselevVitaliy_Kiselev

    @maxr

    LOL. It is hardly predictions as things are moving fast. Hope they'll do it before major economic fuckup.

    I think that we'll have something ala VST interface in audio. So you could set chain of things.

  • maxrmaxr

    @Vitaliy_Kiselev
    May the soft dealers listen your predictions; then we could export (as is available right now in Darktable) 32bit single frames from raw footage into a living room size mega nuke machine with just one button which read "press for beyond awesomeness render orgazm" then we could go on holidays for 3 or 4 months and eventually meet PV members in some nice place nice like Vladivostok which by then would be a 32º C all year and a drug legalised paradise. Ahhhh, wouldn't be nice...

    Ok, I have to go back at today's long AE render of stupid triangles, cheers =)

  • Vitaliy_KiselevVitaliy_Kiselev

    @maxr

    It'll happen soon. I am sure.

    As soon as video raw capability will become same standard feature as photo raw you'll find that raw software will get standard input and output capability becoming just part of workflow.

  • maxrmaxr

    @bwhitz

    Really wish Speedgrade was just a video-version of Lightroom

    And I wish you worked at adobe ;-)

  • bwhitzbwhitz

    The only problem I have with speed-grade is that for some reason it results in a very low-quality 2.5k RAW image when compared to de-bayering through After Effects. The 2.5k BMCC footage has significantly more moire and noise, on most details, with Speedgrade. After Effects RAW processing looks AMAZINGLY clean in the end, plus, the RAW control parameters are much better. Really wish Speedgrade was just a video-version of Lightroom. Hopefully they'll just combine them eventually.

    To sum it up... I get about 1 billion times better results with the Photoshop/Lightroom RAW tools, than with Speedgrade.

  • DrDaveDrDave

    Nice feature. It doesn't sync the audio, just the audio waveforms, but still very handy, then you can bump it on or two frames forward or backwards, or leave it where it is, to get the true sync, or trim the audio.

  • MikeLinnMikeLinn

  • rNeilrNeil

    I take so much outa here, it's nice to give some tidbit back ...

    Neil

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