Archive for the ‘Prelude’ Category

After Effects (etc.) CS6: Workflows for XDCAM-EX Footage

Thursday, February 28th, 2013

As remarked in an earlier blog entry, I was concerned about how best to import/use XDCAM-EX footage in an After Effects CS, especially when that footage could be spanned across more than one [.mp4] file, especially given that their contents can overlap.  In Premiere this is not an issue, because its (new) Media Browser feature provides instead a higher-level view, of clips rather than lower-level [.mp4] essence-files.

Sadly, as yet, AE CS6 has no equivalent of the Media Browser.

Best workaround:

  • In Premiere, use Media Browser to import an XDCAM-EX clip, then copy it and paste that “virtual” clip into AE.

Workflows involving Adobe Prelude:

  • The web-search record (below) not only provides the foundation for the above statements, it also contains an explanation of the different workflows (e.g. whether or not to sort/trim/rename clips in Prelude).  Some workflows are best for short-form (typically involving tens of footage-clips) while other workflows may be more appropriate for long-form (hundreds or thousands of clips).

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Adobe Premiere CS6: Nested Sequences: Slow Response to Play-Button (Re-buffering? Re-parsing?)

Thursday, February 21st, 2013

Context:

  • I had a Sequence  containing two video tracks, each having a pair of (associated) audio tracks.
    • Sequence Properties: 1080p, square pixels, 25 fps.
    • One track contained a single continuous clip of duration just over one hour[01:02:46:10].
      • Properties: 1080p, square pixels, 25 fps.
      • Format: Sony XDCAM-EX: MPEG2 @ 35 Mbps VBR: MPEG2HD35_1920_1080_MP@HL
    • The other track contained a number of discrete clips, intermittently spaced over that time.
      • Properties: 1080i, fat pixels (PAR=4/3), 25 fps (50 fields/sec), UFF.
      • Format: Sony Z1 HDV: MPEG2 @ 25Mbps CBR
  • This sequence, as it stood, played fine.
  • Then I nested that sequence (seqA)  inside another sequence (seqB).
    • Still played fine

Problem:

  • Then I did some multicam “music video” edits, mostly near the end of the sequence
    • Now, when I hit the spacebar to play seqB, there is a delay of several seconds before playing actually begins.
  • If I try re-creating from scratch, by nesting seqA inside new seqC then seqC plays fine.
  • If I try copying the multicam-edited elements of seqB (the multicam edit-sequence) into new seqD (a new multicam edit-sequence) then the sluggish response to [Play] still occurs.
    • Doh!  I had hoped that would be a simple workaround..

Partial Workaround:

  • Following web-advice regarding a broadly-similar issue with multicamera sequences comprising spanned clips (e.g. AVCHD or Canon’s H264) , I tried transcoding the footage to GoPro-Cineform
    • Based on Adobe’s workaround-advice regarding broadly similar problems with long hence spanned AVCHD footage.  My footage is not AVCHD, but the main clip is Sony XDCAM-EX, which has some features (like spanning) in common with AVCHD.  Worth a shot!
      • On a 4-Core i7 PC with GPU, it encoded at about real-time, which in my case was about an hour.  CPU was only 25% i.e. equivalent to a single core
    • Replaced the relevant clip in seqA.
      • To my delight, the clip-markers (in that clip in seqA) were retained/applied in that replacement footage.
  • However, the sluggish [Play]-start remained, though possibly shortened, from about 6 seconds to 4 seconds.

Further Workaround:

  • Duplicate seqA
  • Nest it in a separate multicam sequence (seqE)
  • Do multicam edits on further segments of the event in that (seqE)
    • Intend later to nest/sequence usable bits of each multicam edit-sequence in a Master sequence.
  • Where there’s a will, there’s a workaround…
    • Still, I expect better of Adobe…
    • I lost about 3 hours to this (including web-searching, waiting transcoding and general experimentation).

Further gripes:

  •  God it’s clunky!
    • Every time I stop multicam-preview to tweak the multicam cut timings, then return to multicam editing, I have to remember to activate the multicam monitor, not the timeline (where the tweaks are done).  Unfortunately my reflex is simply to hit the spacebar.  It is a nuisance to have to fight that reflex…
    • Every time I stop multicam-preview, it leaves a cut at the final position of the playhead.  Not useful and simply clutters the timeline, distracting from real cuts.
    • Zoom [+] only affects the Timeline, not the multicam monitor.  As a result, I tend to set the playhead position using the timeline.  Doh! must remember to click (activate) back to the multicam monitor once more…
    • Ranged (duration not zero) markers are great but adjusting their right-hand end can be tricky, since this can change the playhead and/or timeline-display.  Things snatch and interact that shouldn’t (I feel).
    • Sony Vegas is far better in these respects, though not in some others, so I’m sticking with Adobe…
  • Unexpected Preview-Rendering is happening…!?  How come?
    • In principle, that shouldn’t be happening?   I have a state-of -the-art (4-core i7 & GPU) laptop specifically for CS6, no effects applied, just cutting between two cameras, some plain dissolves (between segments of the multicam sequence) – but surely the Mercury Engine should take them in its stride?  (or can’t it cope yet with multicam?).

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    Adobe Premiere – Source Media Adulteration

    Saturday, November 10th, 2012

    Sometimes Adobe Premiere may write to a source media file or proprietary folder-structure.  This may be considered a non-problem in most situations, but it is nevertheless worth being aware of.

    This is nothing hidden, surreptitious or unheard-of, it’s explained in Adobe’s Help text and documentation.  However the potential consequences may not be obvious to a new user.  It may arise at various points of what we may regard as the greater process (workflow/manual) of ingesting media, consisting not only of Premiere’s Import of media but also subsequent manual updating of metadata or indeed automatic analysis such as speech recognition.  As of CS6 it can also occur as a result of adding Markers in Adobe Prelude.

    Premiere likes to add and manage metadata for each media file.

    • The good side of this is that it value-enhances these files, making them easier to locate, navigate and use, potentially increasing workflow productivity and asset usage.
    • But there’s also a dark side – not necessarily Adobe’s fault (e.g. their approaches may well adhere to official media specifications) – but it may be that so-adulterated media files may cause difficulties to other applications (e.g. that may not fully take on board such standards).
      • In my experience, in the past, some (possibly poorly-written, but nevertheless useful) applications have refused to work with metadata-augmented files, again holding up productivity, in this case while the user figures out the issue and works out how to strip this data out, in order to progress.
      • Technically a non-problem, but potentially consequential to a workflow, backup software will (rightly, from its point of view) see the metadata-change as a file-change (e.g. as a consequent file-size change) and consider that the files have been updated.   Left to itself, the backup process (depending how it works/configured) will overwrite any previous copy of the files (e.g. the original files).   Even if the backup process prompts the user to confirm this, the naive user may be uncertain what to do,

    Also, the user has the option at their discretion for Premiere to automatically store additional files (such as cache files and metadata sidecar files) alongside source media files.

    • In the case of media represented as a straightforward single file (like a .jpg or .mpg file) this does not affect that media.
    • However some media (e.g. TV-playable DVDs or XDCAM-EX video media) are stored as proprietary folder structures with defined contents, part of these contents being essence files (e.g. .vob files or .mp4 files) while other files alongside them etc. in that structure (e.g. DVD’s .IFO files or XDVCAM-EX’s .SMI files) contain metadata or index into them etc.  In this case, the consequence of adding further files into the structure will (in my experience) be acceptable to some applications and media players but not to others, which regard it as “pollution”, and may then reject such structures.  Certainly in the past I have seen this happen in some software applications and also even some (mostly old) TV DVD players.

    This is a case for “situational awareness”: if one is aware of the nature and potential consequences of the adulteration (be it regarded as pollution or enhancement, depending on the workflow situation), one is then in a better position to be able to avoid or fix any asociated issues. (more…)

    Adobe CS6 Upgrade Alongside Existing CS5

    Saturday, September 1st, 2012

    Q: Can I install CS6 alongside CS5.5

    A: Yes (it seems so, though I’ve yet to confirm it)

    (more…)

    Adobe Prelude – Usage in Newsroom Context

    Monday, August 27th, 2012

    http://tv.adobe.com/watch/cs6-creative-cloud-feature-tour-for-video/how-to-use-prelude-in-broadcast-news-workflows/

    I don’t work in or for a newsroom as such, but I do cover live events.