Turning on Render at Maximum Bit Depth and Maximum Render Quality crashes render every time
I've tried a few times to render an H264 version of my Red media project with Maximum Bit Depth and Maximum Render Quality. Premiere crashes every time. I have GPUs enabled. Are people using these settings with Red media and successfully rendering?
To answer your specific question did you see the tooltip?
I beleive it allows for 32-bit processing (16-bit if unchecked). Per the project settings help file at http://helpx.adobe.com/premiere-elements/using/project-settings-presets.html
Maximum Bit Depth
Allows Premiere Elements to use up to 32‑bit processing, even if the project uses a lower bit depth. Selecting this option increases precision but decreases performance.
The help file for export is somewhat less informative about what it actually does but does point out that it is the color bit depth - http://helpx.adobe.com/media-encoder/using/encode-export-video-audio.html
(Optional) Select Use Maximum Render Quality or Render At Maximum Bit Depth. Note: Rendering at a higher color bit depth requires more RAM and slows rendering substantially.
In practice the simplest suggestion is to export twice - once with / once without the setting and compare the time taken and perceived quality.
Cheers,
Neale
Insanity is hereditary, you get it from your children
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Maximum Bit Depth /Maximum Render Quality Questions
Maximum Bit Depth
If my project contains high-bit-depth assets generated by high-definition camcorders, I was told to select Maximum Bit Depth because Adobe Premiere Pro uses all the color information in these assets when processing effects or generating preview files. I'm capturing HDV using the Matrox RTX-2 Hardware in Matrox AVI format.
When I finally export my project using Adobe Media Encoder CS4, will selecting Maximum Bit Depth provide better color resolution once I post to Blu-ray format?
Maximum Render Quality
I was told that by using Maximum Render Quality, I maintain sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats as well as maximizes the quality of motion in rendered clips and sequences. It also renders moving assets more sharply. It's my understanding that at maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. I'm running Vista 64 Bit with 8 GIGs of RAM so I'm hoping to take advantage of this feature.
Will this also help to improve better resolution when I finally export my project using Adobe Media Encoder CS4 and post to Blu-ray format?
Does it look like I have the specs to handle Maximum Bit Depth and Maximum Render Quality when creating a new HDV project with the support of the Matrox RTX 2 Hardware capturing in Matrox AVI format? See Below Specs.
System Specs
Case: Coolmaster-830
Op System: Vista Ultima 64 Bit
Edit Suite: Adobe Creative Suite 4 Production Premium Line Upgrade
Adobe Premiere Pro CS 4.0.1 update before installing RT.X2 Card and 4.0 tools
Performed updates on all Adobe Production Premium Products as of 03/01/2009
Matrox RTX2 4.0 Tools
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DVI Monitor: Dell 2408WFP 24"
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2 Raid 0: Seagate Barracuda 7200.11 500GB 7200 RPM 32MB Cache SATA 3.0Gb/s Using Intel's integrared Raid Controller on MBJust some details that i find useful on maximum render depth
You really need it even with 8bit source files, when using heavy grading/multiple curves/vignettes. If after grading you see banding, go to sequence > sequence settings from the top menu and check "maximum bit depth (ignore the performance popup), then check again your preview (it will change in a second) to see if banding is still present in 32bit mode. If no banding, you must check it when exporting, if banding is still there, change your grading, then uncheck it to continue with editing.
Unfortunately Maximum bit depth exporting is extremely time-consuming, but can really SAVE YOUR DAY when facing artifacts after heavy grading, by completely or almost completely eliminating banding and other unwanted color distortions.
Use it only for either small previews or the really final output.
Best Regards. -
When you finally export media to some sort of media format via the encoder does the projects preview Bit Depth and Render Quality settings affect the output file?
I know there is "Use Preview files" setting in the media exporter dialogue but I just want to be sure of what I am doing.Jeff's response is my perspective, as well, which is both backed up by my own tests and the official Adobe word.
Exhibit A: My Tests
That is DV footage with a title superimposed over it in a DV sequence, with a Gaussian blur effect (the Premiere accelerated one) applied to the title; all samples are from that sequence exported back to DV. This was to show the relative differences of processing between software and hardware MPE, Premiere export and AME queueing, and the effect of the Maximum Bit Depth and Maximum Render Quality options on export (not the sequence settings; those have no bearing on export).
The "blooming" evident in the GPU exports is due to hardware MPE's linear color processing. I think it's ugly, but that's not the point here. Further down the line, you can see the effect of Maximum Bit Depth (and MRQ) on both software MPE and hardware MPE. I assume you can see the difference between the Maximum Bit Depth-enabled export and the one without. Bear in mind that this is 8-bit DV footage composited and "effected" and exported back to 8-bit DV. I don't understand what your "padding with zeroes" and larger file size argument is motivated by--my source files and destination files are the same size due to the DV codec--but it's plainly clear that Maximum Bit Depth has a significant impact on output quality. Similar results would likely be evident if I used any of the other 32-bit enabled effects; many of the color correction filters are 32-bit, and should exhibit less banding, even on something 8-bit like DV.
Exhibit B: The Adobe Word
This is extracted from Karl Soule's blog post, Understanding Color Processing: 8-bit, 10-bit, 32-bit, and more. This section comes from Adobe engineer Steve Hoeg:
1. A DV file with a blur and a color corrector exported to DV without the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 8-bit frame,
apply the color corrector to the 8-bit frame to get another 8-bit frame,
then write DV at 8-bit.
2. A DV file with a blur and a color corrector exported to DV with the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 32-bit frame,
apply the color corrector to the 32-bit frame to get another 32-bit
frame, then write DV at 8-bit. The color corrector working on the 32-bit
blurred frame will be higher quality then the previous example.
3. A DV file with a blur and a color corrector exported to DPX with the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 32-bit frame,
apply the color corrector to the 32-bit frame to get another 32-bit
frame, then write DPX at 10-bit. This will be still higher quality
because the final output format supports greater precision.
4. A DPX file with a blur and a color corrector exported to DPX without the max bit depth flag.
We will clamp 10-bit DPX file to 8-bits, apply the blur to get an 8-bit
frame, apply the color corrector to the 8-bit frame to get another
8-bit frame, then write 10-bit DPX from 8-bit data.
5. A DPX file with a blur and a color corrector exported to DPX with the max bit depth flag.
We will import the 10-bit DPX file, apply the blur to get an 32-bit
frame, apply the color corrector to the 32-bit frame to get another
32-bit frame, then write DPX at 10-bit. This will retain full precision through the whole pipeline.
6. A title with a gradient and a blur on a 8-bit monitor. This will display in 8-bit, may show banding.
7. A title with a gradient and a blur on a 10-bit monitor
(with hardware acceleration enabled.) This will render the blur in
32-bit, then display at 10-bit. The gradient should be smooth.
Bullet #2 is pretty much what my tests reveal.
I think the Premiere Pro Help Docs get this wrong, however:
High-bit-depth effects
Premiere Pro includes some video effects and transitions
that support high-bit-depth processing. When applied to high-bit-depth
assets, such as v210-format video and 16-bit-per-channel (bpc) Photoshop
files, these effects can be rendered with 32bpc pixels. The result
is better color resolution and smoother color gradients with these
assets than would be possible with the earlier standard 8 bit per
channel pixels. A 32-bpc badge appears
to the right of the effect name in the Effects panel for each high-bit-depth
effect.
I added the emphasis; it should be obvious after my tests and the quote from Steve Hoeg that this is clearly not the case. These 32-bit effects can be added to 8-bit assets, and if the Maximum Bit Depth flag is checked on export, those 32-bit effects are processed as 32-bit, regardless of the destination format of the export. Rendering and export/compression are two different processes altogether, and that's why using the Maximum Bit Depth option has far more impact than "padding with zeroes." You've made this claim repeatedly, and I believe it to be false.
Your witness... -
Maximum bit depth-maximum render quality when dynamic linking
Hi
A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?Hi jbach2,
I understand your confusion. I'm like that most of the time I'm working. *chuckle* The two settings you mentioned are two completely different parameters affecting (or is it effecting) your video. You do not need to enable them within the sequence itself unless you want to preview video on you program monitor at the highest quality. I personally don't recommend it, as it's a tremendous resource hog, (the program even warns you when you try to click them) and unessecary for improving final output. Again, do not enable these options in your sequence settings if you are only wanting a high quality export. Doing so will greatly reduce your editing performance unless you have a high-end system. ...and even then I don't think its worth it unless you're editing on a huge screen with a Director who wants to see everything at a maximum quality during the edit process.
Keeping it simple...
Resizing your final output video? Use Maximum bit depth.
Starting or working with high bitdepth sources? Use Max Bit Depth.
When/where do I enable these? In the AME only. ^_^
Why?:
Enabling the Max bit and Max render only needs to be done when you are exporting. They both serve different functions.
Max Render aids in the scaling/conversion process only. My understanding is that you never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video. For example, when rendering a 1080p timeline out to a 480p file format, you'll want to use MRQ to ensure the best scaling with the least amount of artifacts and aliasing. If you're exporting at the same size you're working with, DON'T enable MRQ. It will just cost you time and CPU. Its only function is to do a high quality resizing of your work.
Maximum bit depth increases the color depth that your video is working with and rendering to. If you're working with video that has low color depth, then I don't believe it will matter. However, if you're working with 32 bit color on your timeline in PPro and/or After Effects, using lots of graphics, high contrast values, or color gradients, you may want to enable this option. It ultimately depends on the color depth of your source material.
The same applies to After Effects.
Create something in AE like a nice color gradient. Now switch the same project between 8,16,32 bit depth, and you will see a noticable difference in how the bit depth effects your colors and the smoothness of the gradient.
Bit depth effects how different plugins/effects change your overall image. Higher depth means more colors to work with (and incidentally, more cpu you need)
Just remember that "DEPTH" determines how many colors you can "fill your bucket with" and "QUALITY" is just that, the quality of your "resize".
http://blogs.adobe.com/VideoRoad/2010/06/understanding_color_processing.html
Check out this adobe blog for more info on color depth ^_^ Hope that helps!
----a lil excerpt from the blog i linked to above---
Now, 8-bit, 10-bit, and 12-bit color are the industry standards for recording color in a device. The vast majority of cameras use 8-bits for color. If your camera doesn’t mention the color bit depth, it’s using 8-bits per channel. Higher-end cameras use 10-bit, and they make a big deal about using “10-bit precision” in their literature. Only a select few cameras use 12-bits, like the digital cinema camera, the RED ONE.
Software like After Effects and Premiere Pro processes color images using color precision of 8-bits, 16-bits, and a special color bit depth called 32-bit floating point. You’ve probably seen these color modes in After Effects, and you’ve seen the new “32″ icons on some of the effects in Premiere Pro CS5.
jbach2 wrote:
Hi
A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?
Message was edited by: SnJK -
Wraptor DCP and missing Maximum Bit Depth option
DCPs are made from 12bit JPEG200 frame files wrapped is a MFX container. But there is no Maximum Bit Depth option in Wraptor DCP codec for AME8.
Does it means:
1. Wraptor DCP has by default Maximum Bit Depth checked on, so it correctly produces high depth color renders?
2. OR, Wraptor DCP ignores AME Maximum Bit Depth, so it always renders in 8 bits and than scale up to 12bits (what is a waste of information)?
The following article implies that option 2 is the correct case, what would be a shame for a such quality demand workflow as DCP production.
The Video Road – Understanding Color Processing: 8-bit, 10-bit, 32-bit, and moreWraptor DCP output is not working for me on a feature length film. Am I missing something?
Symptom: simply hangs at various stages of the job. No message, never crashes... just STOPS on one frame and never resumes.
Hardware:
OSX 10.9.2 on MacPro late 2013
Going to try it with an older machine. Any suggestions? -
I have a pre recorded mp3 VO. I placed it into a track bed in GB. Clients wants a compressed audio file with bit depth: 16 bit and bitrate: 128kps max, but recommends 96kbps. If I need to adjust the bit depth and bite rate, can I do it in GB? and if so, where? Thanks for any help.
Please be aware that Bit Depth and Bit Rate are two completely different things!
They belong to a group of buzz words that belong to Digital Audio and that is the field we are dealing with when using GarageBand or any other DAW. Some of those terms pop up even in iTunes.
Digital Audio
To better understand what they are and what they mean, here is a little background information.
Whenever dealing with Digital Audio, you have to be aware of two steps, that convert an analog audio signal into a digital audio signal. These magic black boxes are called ADC (Analog Digital Converter) and “on the way back”, DAC (Digital Analog Converter).
Step One: Sampling
The analog audio (in the form of an electric signal like from an electric guitar) is represented by a waveform. The electric signal (voltage) changes up and down in a specific form that represents the “sound” of the audio signal. While the audio signal is “playing”, the converter measure the voltage every now and then. These are like “snapshots” or samples, taken at a specific time. These specific time intervals are determined by a “Rate”, it tells you how often per seconds something happens. The unit is Hertz [Hz] defined as “how often per seconds” or “1/s”. A Sample Rate of 48kHz means that the converter takes 48,000 Samples per second.
Step Two: Quantize (or digitize)
All these Samples are still analog, for example, 1.6Volt, -0.3Volt, etc. But this analog value now has to be converted into a digital form of 1s and 0s.This is done similar to quantizing a note in GarageBand. The value (i.e. the note) cannot have any position, it has to be placed on a grid with specific values (i.e. 1/16 notes). The converter does a similar thing. It provides a grid of available numbers that the original measured Sample has to be rounded to (like when a note get shifted in GarageBand by the quantize command). This grid, the amount of available numbers, is called the Bit Depth. Other terms like Resolution or Sample Size are also used. A Bit Depth of 16bit allows for 65,535 possible values.
So the two parameters that describe the quality of an Digital Audio Signal are the Sample Rate (“how often”) and the Bit Depth (“how fine of a resolution”). The very simplified rule of thumb is, the higher the Sample Rate, the higher the possible frequency, and the higher the Bit Depth, the higher the possible dynamic.
Uncompressed Digital Audio vs. Compressed Digital Audio
So far I haven’t mentioned the “Bit Rate” yet. There is a simple formula that describes the Bit Rate as the product of Sampel Rate and Bit Depth: Sample Rate * Bit Depth = Bit Rate. However, Bit Depth and how it is used (and often misused and misunderstood) has to do with Compressed Digital Audio.
Compressed Digital Audio
First of all, this has nothing to do with a compressor plugin that you use in GarageBand. When talking about compressed digital audio, we talk about data compression. This is a special form how to encode data to make the size of the data set smaller. This is the fascinating field of “perceptual coding” that uses psychoacoustic models to achieve that data compression. Some smart scientists found out that you can throw away some data in a digital audio signal and you wouldn’t even notice it, the audio would still sound the same (or almost the same). This is similar to a movie set. If you shoot a scene on a street, then you only need the facade of the buildings and not necessary the whole building.
Although the Sample Rate is also a parameter of uncompressed digital audio, the Bit Depth is not. Instead, here is the Bit Rate used. The Bit Rate tells the encoder the maximum amount of bits it can produce per second. This determines how much data it has to throw away in order to stay inside that limit. An mp3 file (which is a compressed audio format) with a Bit Rate of 128kbit/s delivers a decent audio quality. Raising the Bit Rate to 256bit/s would increase the sound quality. AAC (which is technically an mp4 format) uses a better encoding algorithm. If this encoder is set to 128kbit/s, it produces a better audio quality because it is smarter to know which bits to throw away and which one to keep.
Conclusion
Whenever you are dealing with uncompressed audio (aiff, wav), the two quality parameters are Sample Rate [kHz] and Bit Depth [bit] (aka Resolution, aka Bit Size)
Whenever you are dealing with compressed audio (mp3, AAC), the two quality parameters are Sample Rate [kHz] and Bit Rate [kbit/s]
If you look at the Export Dialog Window in GarageBand, you can see that the Quality popup menu is different for mp3/AAC and AIFF. Hopefully you will now understand why.
Hope that helps
Edgar Rothermich
http://DingDingMusic.com/Manuals/
'I may receive some form of compensation, financial or otherwise, from my recommendation or link.' -
I'm having problems with iPhoto and the facebook set-up. Every time I attempt to do so it says an error has occured and try again later. I have not seen a solution posted. Therefore, how does one contact Apple to solve the problem? I'm new to the world of iMac but I find it a bit frustrating trying to solve basic issues/problems:(
For what it's worth, you posted this in 2011, and here in 2014 I am still having this same issue. Over the last two days, I have had to unlock my apple account 8 times. I didn't get any new devices. I haven't initiated a password reset. I didn't forget my password. I set up two factor authentication and have been able to do the unlocking with the key and using a code sent to one of my devices.
That all works.
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I have initiated an incident with Apple (again) but I know they are just going to suggest I change my Apple ID. It's a simple one, and one that I am sure others think is theirs. I don't want to change it. I shouldn't have to. Apple should be able to tell me who is trying to use it, or at least from where.
Thanks for listening,
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I clicked on an upgrade box on my ipad and when the upgrade was done my ipad wanted my passcode to open it back up. I have not had to use a passcode to open up my ipad since I set it up and cannot remember the passcode. Every time I try a passcode it disables for longer and longer. It is now disabling for an hour at a time.
FORCE IPAD INTO RECOVERY MODE
1. Turn off iPad
2. Turn on computer and launch iTunes (make sure you have the latest version of iTune)
3. Plug USB cable into computer's USB port
4. Hold Home button down and plug the other end of cable into docking port.
DO NOT RELEASE BUTTON until you see picture of iTunes and plug
5. Release Home button.
ON COMPUTER
6. iTunes has detected iPad in recovery mode. You must restore this iPad before it can be used with iTunes.
7. Select "Restore iPad"...
Note:
1. Data will be lost if you do not have backup
2. You must follow step 1 to step 4 VERY CLOSELY. -
Every time my lg g pad 8.3 lte tablet is turned off it reverts the saving email attachment back to internal storage. Every time I turn on, I change it back to save to SD card. It stays that way until it is turned off for more than a minute. If I do a restart, it holds the setting, but loses it when it is shut down for any period of time. Does anyone else have this issue? The setting holds for photos taken with camera storing to SD card. Only the email attachment setting does not hold.
I believe that system has a hall sensor on it to detect when the lid is closed so it can put the system to sleep and/or disable the monitor so it can be used with an external monitor only. If the sensor is marginal or has a bad cable, it may intermittently cut the monitor on and off, and may likewise put the system to sleep. One way to check would be to plug in an external monitor and if the laptop's screen cuts off or doesn't show up, start using the trackpad and press on a non-typing key like the shift key. If the external display suddenly pops and becomes active while the laptop display remains black, it's probably a problem with the sensor or the cable/connection. You might be able to fool the sensor into kicking on and off by moving a magnet over it. It's located on the left had side of the base with the unit opened up, and right over the audio output plug.
I know of some people that put a small magnet right over the hall sensor's location so the laptop display turns off and they use the system with an external monitor, keyboard, and mouse. If fooling with magnets, make sure they're small and don't get them close to the hard drive because a strong magnet can wipe them out.
I don't know if this will help you much, but it might. -
I'm having trouble with my Apple ID. I changed my email account, and recently (a month ago) and since I switched is requested every time I open any app to Apple ID password to the old email. How can I solve this? Could it be that my iPhone 4S is in sync with my Ipod???
If you updated your existing account then try logging out of it on the iPhone by tapping on the id in Settings > iTunes & App Stores and then log back in and see if that 'refreshes' the account on the iPhone. If you created a new account then any content that you purchased/downloaded via the old account will remain tied to that old account, and only that old account can download updates to its apps.
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https://support.mozilla.com/en-US/kb/Firefox%20crashes#w_get-help-fixing-this-crash
Type '''about:crashes''' in the URL bar and hit Enter. <br />
Click the hyperlinks to bring up the Crash Report pages and copy'n'paste the URL of each of those reports into the message box here. We'll see if we can help you figure out what is causing those crashes to happen. -
my new macbook pro is giving me hardtime. even apple team is not being to solve it. they replace the motherboard first it didn't work. second time they formatted the computer and that also didn't work. every time my mac showing different problems.
At first my computer had issues. Once it go to sleep it will not back again. I dropped my laptop at apple store to fix it. After 10 days they returned my laptop saying they were no able to fix the problem so they replaced motherboard aiming if that might help. Acttually that didn't help.I had same issue again. I visited apple store again. This time they said they could fix, if I will allow them to format the harddrive. I said ok. They formatted it. It was working fine for few daysAfter few days compter is taking.even more than 15 min to shutdown. Now computer has another problem. It is being hang frequently like every 20'to.30 min.
I don't know what to do? I still have one month left on first year warranty. I have requested couple times to apple associates either to fix or replace or refund. They are showing me rude behavior. They are not understanding my situation. I am a student. I need to do lot of home work. Since last three month my mac book and apple associates giving me hard time. Any suggestions are welcome.Contact Apple Customer Care - not Apple Care - Customer Support. Have your receipts handy and/or case numbers. Be patient, be calm, and tell your story just as you have here. I get the sense you are not in the US and don't have access to an Apple Store but are going to an independent shop. This makes using Customer Support all the more important. If phoning isn't viable, use registered mail.
Since time is running short, be prepared to purchase AppleCare to exennd your warranty 2 more years. Yes, you shouldn't have to do this, but it gives you added protection and more opportunities over the next 2 years to claim a replacement computer if you don't get one immediately. After dealing with a similar unhappy situation with a Mac in the late 1990s I finally got a replacement computer and reimbursed for the AppleCare policy. -
i currently use a iMac OS X 10.6.8 and I cannot open iPhoto. Every time I click on iPhoto the coloured wheel comes up and lets me go no further, leaving me with no other option but to force quit the application.
it is showing all my existing photos but will not let me click on any of them, nor will it allow me to import any new photos into iPhoto.
I am really worried that I cannot access all of my photos and even more worried as I need to back them up!!
HELP!!Try repair the Library:
Option 1
Back Up and try rebuild the library: hold down the command and option (or alt) keys while launching iPhoto. Use the resulting dialogue to rebuild. Choose to Repair Database. If that doesn't help, then try again, this time using Rebuild Database.
If that fails:
Option 2
Download iPhoto Library Manager and use its rebuild function. (In early versions of Library Manager it's the File -> Rebuild command. In later versions it's under the Library menu.)
This will create an entirely new library. It will then copy (or try to) your photos and all the associated metadata and versions to this new Library, and arrange it as close as it can to what you had in the damaged Library. It does this based on information it finds in the iPhoto sharing mechanism - but that means that things not shared won't be there, so no slideshows, books or calendars, for instance - but it should get all your events, albums and keywords, faces and places back.
Because this process creates an entirely new library and leaves your old one untouched, it is non-destructive, and if you're not happy with the results you can simply return to your old one.
Regards
TD
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