I wanted to see if anyone knows of any software to reduce the Judder effect of 25p 30p I am asking because I thought it was somthing I was just going to live with and be careful when recording.

But I was checking out some footage I had recorded and it had a little judder in it and I uploaded the footage to Vimeo and Youtube to See how it looked. And it was the same as playing on my Computer and never thought any more of it, until I was back at home and played both clips via the internet apps made for my home TV a Samsung D7000 and I was Shocked how Smooth the clips were no Judder and really smooth.

I firstly Thought it must be because its 50hz and a computer screen is 60hz. But then I remember the Samsung has a Judder reducing function so I turned it off and the clips looked just like they did on my Home and Works Computers.

I then Went through all the Different Smoothing and Judder Settings on the Samsung LED D7000 turning them off and on, some settings made the footage look very smooth and far to video like and And it got me thinking if a TV can do this on the Fly there must be some software that can do this.

I was hoping someone my know of such a program or plugin.

Thanks Craig R

If I copy the entire project folder with all the clips used on the timeline, what would be the best way to save this for cross-edit? Can AE CS5.5 use the CS5 file smoothly?

This guy offered me this system with 23' apple display for my mbp + $300. curious if its good deal and if im really losing out on anything that the mbp has that the Mac Pro doesnt since i know it isnt as new.

http://phoenix.craigslist.org/nph/sys/3564919499.html

Lookin at that one for around $400-500 with display.

Here is my Current MBP:

http://www.everymac.com/systems/apple/macbook_pro/specs/macbook-pro-core-i5-2.3-13-early-2011-unibody-thunderbolt-specs.html

Thanks for any advice.

Namely, when encoding the original footage by using UT codec the colours appear like normal (in Media Player Classic or in VirtualDub). When editing such a footage with Vegas, the colours are preserved, so everything is OK.

However, if the original footage is converted into GoPro Cineform codec, a red shirt appears slightly toward orange in VirtualDub (it is almost OK), but in Media Player Classic the shirt becomes almost orange. When editing in Vegas and exporting the clip (I've tried several settings), the shirt becomes even more orange in VirtualDub and completely orange in MPC.

Does anybody know which settings should I use when recoding into Cineform codec and which settings should I use in Sony Vegas (tips for Movie Studio are also welcome) to retain more or less the "original colours" and, if possible, the original contrast?

You expressed your interest earlier, so I am writing to let you know that a new product - Neat Video plug-in for Edius is now available in: http://www.neatvideo.com

This version of Neat Video supports Edius 6.5.

Please try the Demo plug-in for Edius available in: http://www.neatvideo.com/download.html

License for the Home and Pro plug-ins are available for $49.90 and $99.90 correspondingly: http://www.neatvideo.com/purchase.html

Multi-user licenses are available with volume discount: http://www.neatvideo.com/purchase2.html

Best regards, Vlad

Neat Video team, ABSoft mailto:info@neatvideo.com http://www.neatvideo.com

Results are targeted primarily for streaming producers, and apply to a much lesser degree to longform producers, if at all. Within the streaming media production community, however, these tests reveal that the Adobe CS6 encodes faster than FCP X, and can shave hours of rendering time off longer, more complex projects.

http://www.streamingmedia.com/Producer/Articles/ReadArticle.aspx?ArticleID=83582&PageNum=1

Any help? Its annoying. cuz it takes around 5-10sec to load each clip every time i want to trim something in the trimmer. Thanks a bunch!

http://pro.magix.com/uploads/MAGIX_PRO/video_pro_x/pdfs/magix_video_pro_x5_new_features_en.pdf

When making long recordings with GH2, is there a way to control the file size of spanning, i.e. 100mb as opposed to 4GB?

Or maybe a post-file-splitting method?

Recently I’ve recorded a live event with a couple of GH2s and GF3s and a GH1, and the large files take forever to preview on the source monitor on my Premiere CS6.

My system is not actually bad - a hackintosh built in late 2011, 2600k CPU, 16GB of Corsair CMZ8GX3M2A1600C9 memory, 128GB SSD for System drive, 3 x WD Raptors Raid 0 for media files and 3 x WD Black Raid 0 for scratch, and a GTX470 for CUDA.

Any advice or comments would be appreciated.

Thanks.

p.s. My apology if this has been discussed before, I just could not find one.

I cannot recall what the rendering settings on my old laptop's PPro CS4 were. So I have to ask the community here: What rendering settings would you recommend for best video output quality? with minimal or no loss of original quality.
* Format:

• Preset:

• Frame Rate:

• Aspect:

• TV Standard:

• Profile:

• Level:

• Render at maximum depth: ?

• Bitrate encoding:

• Target Bitrate

• Maximum Bitrate

• Key frame distance

• etc

• etc

Videos will be used for BlueRay disks to be sent to festivals and cinemas, as well as for demonstrations on Vimeo as well as on my own 1920x1200 computer screen.

Many thanks in advance!

PS: I have a GH13 and I live in the UK (so I'm not sure if PAL or NTSC matter when it comes to displaying your work on a cinema screen).
PSS: I'm sorry if this question may seem as coming from a novice. I'm more of a writer/director rather than cinematographer/editor/director, although always learning new things.

I've been using Premiere CS6 (with Mercury Playback Engine enabled) and I'm getting choppy time line playback. When I start a project things normally are ok but even if I just leave it for a while and come back, a cross dissolve transition rarely plays back smoothly and even normal footage playback is choppy.

I've tried older and the latest nvidia drivers.

I am looking for some help as to whether or not my current approach is in fact counter-productive or not.

For a while now since upgrading to a new work station, I have been using my SSD in the following way to edit:-

• Windows 7 on SSD
• Corel Videostudio X5 on SSD
• Import Clips from SD card onto SSD ready for editing
• Edit clips and render (export) to SSD
• Once project is complete, move to 3 TB HDD for backup and storage

I have been told a few times now that I should not be using the SSD for either the storage of raw video files or using for exporting to either.

What are the reasons for this and could my workflow be improved?

Any help would be greatly appreciated.

1. When should a subtitle appear relative to the first frame of speech on the audio track? -It seems like on the same frame is too late, and that the ideal is somewhere around two frames before...

2. How long should the duration of a subtitle be? -Intuitively, the time should vary based on how long the spoken dialogue is. But what about one word bits of dialogue like "No!"?

Can someone point me to a standard set of guidelines for this sort of thing?

I recently found someone to sell me the entire CS5.5 master collection for just under $100 (they are legitimate and it's not pirated). But.... I'm also a student and can get the CS6 production premium for around $450 (or so). The upgrade costs to CS5.5 to CS6 seem like they are almost as much as the CS6 student pricing.. so... I'm wondering if the new features (esecially in premiere cs6) are worth the extra money???

What is your personal view about cs6 vs cs5.5? :-)

It has ProRes, DNxHD support, has color correction, multicam, and CUDA is not required (you can work on AMD cards using OpenCL) etc

Also has PluralEye like algorithm build in making synch of different cameras or separate audio.

Information:

http://pro.magix.com/en/video-pro-x/overview.275.html

Available:

Price: $399

http://www.amazon.com/MAGIX-MID012608-Video-Pro-Download/dp/B007VGI7LU/

To start off what settings are people using for exporting? I personally have fiddled around with raising bit rates and quality for export, but always seem to have adverse affects (again I am no pro). I simply export as MotionJpeg AVI and leave everything stock, this seems sufficient for Vimeo, but there is clear reduction in quality compared to the original files. Anyone have some tips for exporting while retaining higher quality?

http://www.filmlight.ltd.uk/products/baselight/workflow_bl/editorial-avid-fcp.php

-Most shots are between 2 and 4 seconds long.

-Shots that are less then two seconds and especially less than 1 second are usually decisions driven by the music, and you're probably cutting right on the beat.

-Shots that last beyond eight seconds are either incredibly dynamic, or are a restricted POV shot (like a surveillance cam or similar) that get their power from being a restricted POV.

-The longest I can remember holding a shot was 42 seconds--it was from the helmet-cam of a cop chasing a drug dealer through fenced-in backyards.

-My shows have wall-to-wall music (too much, I think). A cue usually lasts around twenty-five seconds. Ten seconds happens. The only times I let a cue get much beyond 30 seconds is if has some big-time change-ups in it, so its essentially a different cut.

-Most scenes are between two and four minutes, but there's a lot of wiggle room in this. Having said that, it's rare for a scene to be less than forty-five seconds -- once it gets less than that, it usually becomes part of a montage with just a sound-up or two.

-I try to keep talking head scenes down to 75 seconds.

-When I'm cutting static shots (like an establishing shot), and there's no music or rhythmic sound in the cut yet, I find myself counting a four-beat in my head--probably lasts three seconds. But it's also worth noting that the length of these shots will almost immediately succumb to rhythm of whatever sound is put in there.

Has anyone used this product? At 25$ it has the right price, to be helpful as the new XML workflow develops.

http://www.fuelyourmotionography.com/review-clipexporter-for-final-cut-pro-x/

How does ClipExporter compare to Xto7?

https://vimeo.com/mindtransplant/clipexporter-for-final-cut-pro-x

The version 1.1 adds AE export

http://tv.adobe.com/watch/adobe-anywhere/introducing-adobe-anywhere-for-video/

http://www.fxguide.com/featured/new-tech-adobe-anywhere/

I'm having an issue when I export my timeline to a prores file. The resulting file is brighter and the blue has shifted towards purple. It plays fine on the timeline out to the monitor and also resolve was displaying it correctly too.

Has anyone else had this issue? What do I need to do to correctly export the file?

Thanks

Tony

ps. If there is a thread already about this, I apologize and will halt my thread.

I've read a few things here and there on this site and the internet about importing our clips to look the best, with 5DToRGB offering improvements to sub-sampling and perhaps this gamma issue that certainly effected FCP7, and Premiere on Mac, and in some footage perhaps Windows too.

There are some discussions about whether its an issue for FCPX or not.

I wondered if anyone here had any definitive verdict on FCPX's state in this matter?

I know I watched some footage off camera, over HDMI last night and it looked quite washed out. Watching it tonight within FCPX on my MacBook I can see that the material looks more contrasty. Obviously the two displays are different and not calibrated in any way, but does this imply a problem or not? In this case i think the footage in FCPX looks better, though perhaps less flat and ready for grading.

I've tried opening the same file in VLC, FCPX, QuickLook and QuickTime... perhaps there are some differences between VLC and QuickLook/Time but its quite subtle. Would this imply the issue is occuring? Which would be the more "correct" playback?

Finally, if there is an issue, is it even an issue at all with a full 32bit float workflow, has anything actually been lost. The example comparisons on EOSHD's article above look like a real big difference.

The convenience of working with clips natively ingested via FCPX is sort of why I enjoy using it so i'm a little reluctant to work with another workflow, especially for one as I'm running out of disk space a little too quickly, whenever I create ProRes clips of large amounts of footage.

Would really appreciate a discussion on this, if there are any FCPX/GH2 users out there.

Cheers