Larry Jordan – LarryJordan.com
The Inside Tips are taking a hiatus for the month of August. We’ll be back the first week of September with more Inside Tips.
Thanks for your readership and comments. Enjoy the rest of your summer.
Feel free to contribute some tips of your own here.
Larry Jordan – LarryJordan.com
The Inside Tips are taking a hiatus for the month of August. We’ll be back the first week of September with more Inside Tips.
Thanks for your readership and comments. Enjoy the rest of your summer.
Feel free to contribute some tips of your own here.
Larry Jordan – LarryJordan.com
You would think this would be obvious but, well, I embarrassed myself publicly in a webinar with these, so I might as well share them with you.
There are two instances where creating transcripts won’t work using the new Speech-to-Text workflow in Adobe Premiere Pro:
So, to create the best possible transcripts:
Once the transcript is completed, you can turn all your tracks back on.
Sheesh. You’d a thought I could figure that out on my own.
Larry Jordan – LarryJordan.com
Vince asks:
“I’ve got a 360 project (filmed on GoPro Max) that is 5376×2688 and need the best quality compression setting to create a 5376×2688 .mp4 (or .m4v) for playback on a pair of Oculus Quest 2 goggles. I can’t find any setting in FCP or Compressor that allows me to custom set the resolution to match. Actually, I can’t get anything larger than 4k, which is killing me and the image quality when viewing on the goggles.”
The short answer is that Compressor limits compression frame sizes to 4K for both H.264 and HEVC codecs.
NOTE: HEVC was specifically designed to support frame sizes larger than 4K, but Compressor does not currently allow it.
Because Vince is interested in high-quality, the workaround is to use the ProRes 422 codec. This supports frame sizes up to 8K, along with non-standard aspect ratios.
NOTE: However, if you import a 4K 3D clip, Compressor won’t upscale it larger than 100%, even into ProRes.
Larry Jordan – LarryJordan.com
Not all codecs support large frame sizes, but for those that do – such as ProRes and HEVC – Adobe Media Encoder will compress them.
In Tip #1829, we learned that Apple Compressor limits compressed file sizes to 4K, except for ProRes.
But, Adobe Media Encoder will support up to 8K UHD (7680 x 4320 pixels) for some formats, such as HEVC and Apple ProRes.
NOTE: H.264 is limited to 4K due to the design of the codec.
To compress a file that large, you’ll need to create a custom preset (see screen shot) and select a codec that supports frame sizes that large. HEVC is a good choice for compressed files, while ProRes 422 is a good choice for higher-quality files.
NOTE: Keep in mind that HEVC will take significantly longer to compress than H.264, so be sure to allow extra time for compression.
Larry Jordan – LarryJordan.com
The Inside Tips are taking a hiatus for the month of August. We’ll be back the first week of September with more Inside Tips.
Thanks for your readership and comments. Enjoy the rest of your summer.
Feel free to contribute some tips of your own here.
Larry Jordan – LarryJordan.com
An adjustment layer is a custom title template which changes all clips below it in the timeline. For example, add an adjustment layer to change all clips below it to black-and-white, or apply the broadcast safe filter to your entire project, or apply the same color grade to multiple clips.
The benefit to an adjustment layer is that you can change the effect settings in the layer, without needing to adjust each individual clip. Or, remove an effect from multiple clips simply by removing the adjustment layer.
Premiere and Photoshop support adjustment layers natively. Final Cut does not. But… you can create one!
Here’s an article on my website that explains how to create an adjustment layer (you’ll need Motion). It’s a special form of a Title effect.
Another benefit – besides speed and flexibility – to creating an adjustment layer template is that you can “bake” in custom effects into the adjustment layer, as my article illustrates. This can save a significant amount of time during an edit.
Larry Jordan – LarryJordan.com
Tip #1826 explained the value of Range Check. Range Check is a fast way to flag excessive video levels. But, how do you fix video levels that are out of range? Answer: The Broadcast Safe Filter.
Here’s how to fix errant video levels.
NOTE: You can create an adjustment layer, see Tip #1828 to apply this filter to a range of clips.
Excessive white or black levels are instantly clamped to 100 or 0 IRE. Clamping means you’ll lose detail in the brightest and darkest portions of the image. Most of the time, clamping will be fine.
However, for those times where that detail is important (the bright white lace of a wedding dress, for example) you’ll need to adjust video levels manually using the Color Board or Color Wheels.
Larry Jordan – LarryJordan.com
Have you ever wondered what “Range Check” does in the View menu? It’s actually really useful – it flags excessive white and chroma (color) saturation levels. Here’s what you need to know.
If you are posting media to the web, virtually any gray-scale or chroma value will be fine. The web is very forgiving.
But, not so broadcast, cable or digital cinema. Here, because of technical constraints, white levels can not exceed 100% and chroma levels can’t exceed certain amounts of saturation for SDR (Standard Dynamic Range) media.
What Range Check does is flag – using a moving series of red lines (red arrow in screen shot). These indicate areas in the frame that exceed white level limits (Luma), excessive saturation (Chroma) or both (All).
To fix this problem, either adjust your color grading or apply Effects > Color > Broadcast Safe.
EXTRA CREDIT
Tip #1827 explains how to use the Broadcast Safe filter.