SOUL CC renders progressive (non-interlaced) AE projects

Similar Questions

• Shoot Sport progressive vs interlaced

  I shoot a lot of sports.  I like the look of progressive but have always shot in interlaced mode.  I have the Sony NX5u camcorder.  I was told recently to shoot in 720 p 60.  Comments or suggestions about the best settings for me?

  Thank you

  720 p 60 is one of the most versatile of all formats, you can film in HD. It is particularly convenient for the strong movement of shooting as with most sports (with the exception of curling...)

  If you have a camcorder 1080 p 60 (non interlaced 60 but progressive 60) then what harm says is true... cannot go directly to BD - R. However, you can do the following:

  -Crop in a 720 p 60 sequence... This gives you the effect potentially increase the 'zoom' to your camera and you giving the panoramic room around the image.

  -Reduce your sequence of sequences 1080 p 60 directly to 720 p 60 at the BD - r output with no cropping or anything else.

  -Scale your 1080 p 60 until 480i60 for the DVD release. (720 p 60 and 1080 p 60 two res downs for SD/DVD 60i very well for compatibility purposes)

  Filming in 1080 p 24 (or 720p24, for that matter) isn't completely terrible ideas even for the sports of strong movement, as long as you do a good job to limit the movement of the periphery to the INSIDE of your video and your very remains in the same subject is the frame. Where 24 p collapses on things strong movement is usually caused by things like fast pans on a topic or inside objects.

  On a lens with enough depth of field, the 24 p stutter effect is reduced even more (or almost imperceptible) when movement occurs in the periphery or the background of your photo. All you have to do is keep very focused and in the middle of your shot.

  This point being, it of really MUCH easier to shoot high movement at a speed higher as 60 p or 60i, but in an interlaced format of shooting really can paint you into a corner when it comes to export your project to the web, a lower resolution format like DVD, stuff like that. Progressive translates between formats much more cleanly.

  BOTTOM LINE: If you CAN shoot 1080 p 60, do it, but just know that you can not go to Blu - ray with her unless you downconvert to 720 p 60 at one point. Otherwise, shooting 720 p 60 is usually your best bet for high motion.

• Change a sequence of progressive to interlaced

  Hello

  We started a project to create by using the preset called AVCHD 1080 p 30. We´ve made the entire edition of the weeding.

  But... Unfortunately the right preset for the start of the project was to be 1080i30 (60i) AVCHD

  Curriculum vitae... our record of interlaced cameras AVCHD files (not progressive). Presetting of start that we chose was so bad...

  Is it possible to change this preference... but now at the end of the work? (change the progressive to interlaced)?

  I know that I can select in when exporting... Would be the solution? Tried, but has not had a good result on the final Blu - Ray movie.

  Thank you very much

  Gustavo

  You can simply create a new sequence that is of the order of the correct fields and then copy and paste your entire timeline in the new sequence. I do this all the time when will parade some scenarios scaling.

• Can first CS5 tell me if a clip is progressive or interlaced?

  Is it possible to tell from first Pro CS5 if a clip (for example in my project window) is progressive or interlaced?  If not, is there another tool that will be?  Windows Explorer (I use Win 7 x 64) will give me the dimensions of the image and rate, but not I or P.  Thank you.

  Select the item in the project Panel, right-click and select Edit-> interpreting the film. Under the order of the frames. I hope this helps.

  FYI, in Premiere Pro CS6, it will also be included in the information of the project (feature added for CS5) Panel preview area

• After the rendered file appear in the project Panel

  Hello guys,.

  This thing has never happened before

  In the example, I have this file in my project Panel:

  VIDEO1

  VIDEO2

  Photo3

  Music4

  When I visited a video I call, in Hello World example

  After rendering the video will appear automatically in my project Panel...

  I'll have to

  VIDEO1

  VIDEO2

  Photo3

  Music4

  Hello world

  This thing never happened to me and I'm not changing anything, this problem showed for the first time this morning and all new project I create, even a whole new project even after a reboot of the PC if I return something, the end result will be automatically added to the project Panel

  How can I fix this thing? It's very frustrating because I make a file several times to correct a few errors and every time that I have to first delete the file in the project Panel

  As mentioned yesterday everything perfect, this morning started this weird thing

  It's a post-render action. See this page for more details:

  Using After Effects | Basics of rendering and exporting

• Rendering lost after closing the project.

  Prel9 running on Dell Studio XPS (12 GB RAM) under Windows 7.

  1 project comes from a .avi file (result of 8 mm digitized in AVI format film) - single clip.

  2A started with automatic Analyzer running and Smart Fix ok. Finished with about 100 clips, which is what I wanted.

  3. ensure the full clip under the work area in the timeline, I visited the area (15 minutes) and the red line turn green.

  4. I save the project, close, open, and the green line is back in the Red!

  Is there something that I missed to do? Having Steve Grisetti Guide book and Classroom in a Book. If clues exist which are, a pointer would be appreciated.

  Thank you

  Paul.

  Paul,

  Lose the link to the files of rendering can happen when editing from the HARD drive external, or in network drives. Either of those appearing in your installation?

  Good luck

  Hunt

  PS - also with the Capture in a DV project, I expect your AVI files would need to render, so that any change, such as overlays, PiP, or addition of Transitions. Could you describe the Capture procedure and details of AVI files resulting?

• Progressive to interlaced?

  Hello world. I need to convert several 1080 p 25 fps animations made with After Effects at 25 fps, 1080i. Is there a (relatively) quick way to do it? I try to avoid the reposting autour half-hours of animation shot-by-shot (I don't know how many hours of rendering, it would be, but a lot), but I'm Sandra Alves I have no choice. I've seen some tutorials that flows to the intertwining of the footage and have all kinds of frame combining the techniques which will be probably more time just to make it. It would be ideal that the workflow includes only first, my client can do itself.

  Thanks for your time!

  I have it.

  My first choice for it would be back to After Effects and render each composition in the format required by the producer.  Specifications return him/her about codec and container, queue to the top of each model in the queue using these specifications and the necessary 1080i/25, starts the process on Friday night (which is be tonight) and when you come back Monday, you're all set.

• How to manually activate LowerField music videos in progressive video clips -?

  Hi all

  I have my music videos lined up on my pasteboard AdobePremElement13, they are all in the lower field (and Pal 25f/s (!) 4:3)

  I need to have returned them in a (uncompressed) Avi output in progressive instead.

  (Elements13 does, ok, but I'm not sure on the quality of the connection securing: my editor will compress the avi file on a DVD Pal subsequently, and also as a file to be read on computer and that is why they prefer gradual-).

  Rendering automatically re-encode the file down field in a Progressive file, or there are losses to be expected? or am I limited otherwise to maintain order at LowerField, due to my video clips being LowerField originally?  The problem with LowerField its DVD is Pal, so it seems it should be UpperField (!).

  It was decided that he would develop progressive (non interlaced) as well as the film be read anywhere, but is it possible? and is it possible with Elements13?

  == > why I ask:

  -Of course I specify rendering of time 'progressive' settings, but I want to be sure that I don't have to recode manually each clips video (I have 77 of them) of LowerField to progressive. Should be, how on Elements13? I don't see the device to operate this initial transformation.

  (you can see there are two questions in one, as I am a bit confused by the problem in which I am)

  Much thanks yous!

  Dewey.

  If your original video is interlaced (bottom field first) and your project settings Premiere Elements perfectly with the specifications of your video, then all you need to do is exit your video with a gradual adjustment and it comes out gradually. Without interlacing.

  I don't know how that will affect NTSC to PAL conversion, given that other factors to consider also (frame rate).

  What is the original source of your video? It comes from a camcorder?

  What is the resolution and speed of the video?

• frame rate 60i, 24 p or 60 p

  Will make a 5 days (25 hours), turning 4 cameras multicam. The subject is a class. Not a lot of action. Most of the slow. I edited in FCPX, cut in pieces and upload to Youtube (but I wouldn't mind having the options open for other outputs). Wondering what pace to pull in 60i is easy, but I have read so much about how progressive (non-interlaced) is better and how. 60 p is possible on my devices, but requires a higher quality recording mode and so more space on memory cards and, presumably, hard drives when editing. 24 p appears first of the arguments on video forums. Any advice? Thanks in advance.

  PS: by the way, I have a Canon camera which does 30 p, but with a big asterisk - it saves it as 60i. So it is not correctly recognized by FCPX. I don't know I didn't explain that well, but it seems to be a big problem on some forums.

  It is really not benefits to interlaced shooting--unless some customer of broadcasting is to be specified. In other words, draw progressive if you can.

  Russ

• ReStabalizing

  I have some images I've stabilized, and it is 95% better. Could harm something to stabilize now that images to get it to 100%? In other words, is non-destructive sequences stabalizing and loseless? Thank you.

  In other words, is non-destructive sequences stabalizing and loseless?

  That entirely depends on the sequence and how to use it. It would be especially without loss, if the footage is progressive, non-interlaced, uncompressed, and that you do not evolve to compensate. You always get interpolation slight rotation pixels, however. All the rest is bound to lose even more pixel information, even if you take all the necessary precautions like deartifacting and deinterlacing first. It is always a simple thing: any transformation which is not a perfect 90 degrees or a linear offset, rotation requires resampling, reducing term visual quality due to interpolation. If often get a perfect thing can Geneviève it at the other ends. This aside, excessive stabilization tends to look natural, which is something you don't want. That's why earthquakes is often reintroduced after masking for example set extensions etc. were conducted. If you want to, many times stabilization is just an intermediate step.

  Mylenium

• Rendering MP4 with SOUL of After Effects is still single?

  When I make MP4 according effects CC 2014.2 (by AME) then always made, it's slow and only single, although in AE multiprocessor rendering prefs is defined.

  Why?

  -*-a says:

  Is SOUL CC 2014.2 makes AE projects as in AE prefs in multiprocessing?

  Or maybe there is a separate option in the SOUL to turn on multiprocessing on EI projects?

  Lol Adobe Media Encoder does not feature multiprocessing of After Effects.

• Setting progressive wrecks output quality

  I have a first sequence that contains only progressive images, all rendered from After Effects comps.  The project is PAL widescreen, which, by default, sets first to the lower field.

  The customer wants what MPEG2, so I add the sequence to Media Encoder.  It records the source of the lower field, as it would, but I need the output to be progressive, so I put it in the basic video settings dialog box.

  I can see in the preview that the quality deteriorates seriously, with edges pixellating and textures fizzing and cracking of shooting like camera movements.  Villain.

  If I set the output to the lower field, the quality is very good.

  I do not understand why progressive setting, deinterlacing, do as much damage to the output - it is absolutely unacceptable for me and the customer, but I'm a little stuck and need help please.

  The customer is to put this film on the kiosks and actors in the media they use, depending on the provider, need of 5.5 Mbps CBR and progressive.  Can I ask why not lower field, but that apart, it is this problem of adjustment do so much damage.

  Thanks for any help.

  Julian.

  I think I knew how to solve this problem.

  I found this thread:

  http://forums.Adobe.com/message/3780954#3780954

  Which is a not dissimilar issue, at least on the hit in quality.  So I created a new sequence, but this time change the default lower field first in progressive, in the middle of the sequence.  Now I get decent MPEG2 expected output - progressive images, progressive sequence, out progressive.

  I went through a large number of formats this morning, creation and Media Encoder, but in all cases, out of the sequence of the first (the lower field value) as progressive, resulted in severely degraded video.

  I guess what threw me was that I made a leap of Premiere Pro 6.5 CS5.5 and 6.5 Pro, I remember you would define a sequence PAL screen wide which has been more weak field first, load both progressive and interlaced footage, edit it, and then generate a Progressive file without problems.

  I wonder now that CS5.5 actually did to cause this problem, and indeed what I'd do if I need to mix the progressive and lower field... on this experience, use a Progressive sequence, I guess.  I guess I better run tests and become familiar with how and what.

  Julian.

• How to the best Setup project for export to many formats

  I'm about to start editing a wedding video but just realized I intend for the video to be viewed on many different media and display types. I wonder what the best way is to configure my project to be able to export all the different formats and to get the best possible quality for each of the formats? The video source is AVCHD 1080i (1920 x 1080 60 frames per second interlaced) I wish that my final project in all of the following formats (all 16:9):

  Blu - ray 1080i60

  Blu - ray 720 p 60

  1080 p 30 (for playback on projector connected to the computer)

  DVD NTSC (I think to 480 p or should I use 480i?)

  DVD PAL (576i or 576 p?)

  Should what format I configure my project? How then would export to other formats? How to deal with interlaced to progressive conversion? Thanks for any help you can offer.

  Use the format that fits your video... so the formats of all your AVCHD export full which is 1920 x 1080, are the same resolution or less... they can be exported from your project. You can deal with the export formats progressive in deinterlacing the video on the timeline and using the Progressive 'None,' option accessed from the advanced options in the export field window.

• Apple "final cut pro 7", high res Pro 422lt 1920 x 1080 (odd) clips, is this gradual?, no 1080 progressive setting sequence, how can I ensure that I have the best setting of the timeline for my clips

  Apple "final cut pro 7", high res Pro 422lt 1920 x 1080 (odd) clips, is this gradual?, no sequence definition 1080 progressive

  How can I make sure that I have the best setting of the timeline for my clips. I did all the settings of Mount clips but there is no progressive setting for 1080 p. Images originally dslr Nikon that I used mpeg streamclip to convert to prores. Thanks for your help!

  The frame for you size source of material is HDTV 1080i (16:9). That only sets the size of the image, not the domination of the field, it's what makes progressive or interlaced. The reason it's labels with the 'i' is that when FCP7 was abandoned by Apple, they have never updated the software in order to take account of 1080 p contents.

  To make your progressive sequence, set the dominant field to None.

  gerforce wrote:

  Images originally dslr Nikon that I used mpeg streamclip to convert to prores.

  In your screenshot of the properties of the element for your clip to the source, the material is interlaced. At the original camera file interlaced or progressive?

  Also, the fps footage was actually 30 original and 29.97 not standard?  30 images/s is very limited its use.

  MtD

• Project Manager fails to cut after the new method to "consolidate and transcode.

  Greetings,

  I use first to create trailers and other equipment for a game studio. For the record, I use dxtory ( http://exkode.com/dxtory-features-en.html ), with the first/AE allows you to change the images and SOUL for rendering. A project may consist of several hundreds of GB's worth of the source footage. When made with a given project, historically I used method 'trim' first since the project manager to store copies ready images - as it is intended. This can turn a project with 400 GB of source down to a cup which is only 80 GB or more. This has worked well in the past, but because of the recent change to the new feature to "Consolidate and transcode", this operation will fail when the current creation.

  I created a full repro this for anyone who would like to try.

  The repro project: https://dl.dropboxusercontent.com/u/263501/misc/PremiereRepro/Copied_transcode_repro.7z

  I'm using Project Manager, select the following options:

  https://DL.dropboxusercontent.com/u/263501/Misc/PremiereRepro/pp_transcode_2.PNG

  This should lead to a MB avi ~9.9, which is 15 images of the larger video, the panoramic nature views slightly to the right.

  Instead, I get the following message after the end:

  https://DL.dropboxusercontent.com/u/263501/Misc/PremiereRepro/pp_transcode_1.PNG

  Looking at the directory for this new project "successful", the size of the file is the same as the source of the layer and without cropping footage actually occurred.

  The journal of the events, said the same thing:

  https://DL.dropboxusercontent.com/u/263501/Misc/PremiereRepro/pp_transcode_3.PNG

  This method worked 100% reliable before the new feature to "consolidate and transcode. It seems to be quite broken in the current one, at least for my purposes. I forgot something, or is this a bug? I am currently having to install an earlier version of first trying to work around this problem, but this obviously isn't the solution.

  You receive this warning as the selected Format (DNxHD MXF OP1a) does not support your combination of the size of the image, frame the combination of rate and on the ground. For example, DNxHD will support sizes 1280 x 720 or 1920 x 1080, while your source file is 1280 x 800.

  Try using a combination of Format/Preset that will support your settings of the source file. For example: Source of game (Mac) ProRes or CineForm Match (Mac and Windows).

  I hope this helps.