Banding/Posterization Artifacts in Premiere Timeline & Export

I am having an issue with Premiere CS6. Just for some details...I am on a 2013 27" iMac. 32gb ram, NVidia GeForceGTX 680MX.
I am editing 5D Mark iii footage. I am experiencing bad compression when editing and exporting the footage. I have tested all forms of export settings (VBR 2, higher bit depth, maximum bit depth, uncompressed Animation, etc)...all looking the same as the timeline does. Which is leaving me to believe it has something to do with the timeline. I am NOT using previews to export...however, under Sequence Settings, I have tried to use Maximum Bit Depth & Maximum Render Quality.
All getting the same results. The actually footage does not have bad compression, and I am testing my exports without doing any color correction or anything to them. Just testing how the export out of the timeline.
Within the preview monitor, the footage looks fine, within the sequence monitor...it looks terrible. Please look closely at the gradient in the sky to see the artifacts. I have attached an screenshot.
Your help would be greatly appreciate. I do understand that I will get some compression when exporting for the web using .h264... as I am quite familiar with compression. However, in this situation...it seems to be in my timeline before I even do any edits.

I would like to add some things. I have been struggling with this all day...and am noticing a coorilation between using plugins that are creating this effect. One is WARP STABILIZIER, and the other is TWIXTOR. In both situations...you can see that this banding is being created when enabling them. Here are examples. Look at the gradient in the sky.
This is Warp Stabilizer Off -
This is Warp Stabilizer On -
This is Twixtor Off -
This is Twixtor On -
Note the banding going on in the sky. There are no other effects applied to the clip at this time. Just so you can compare side by side...here is a picture with twixtor on with the source footage beside it -
I could REALLY use some help here. I have 5 projects I gotta get done, and I am totally stuck here. I have tried everything! Thanks!

Similar Messages

Batch export of individual clips? Premiere timeline to Media Encoder??

I have a bunch of clips on a CS6 timeline.
I want to batch encode them out.
I'm trying to figure out how to take those clips to Media Encoder so I can batch export them out all at once.
I've heard I can pull them all into a folder in CS6 and then batch export them out of that folder - though I can't seem to drag the clips en masse from the timeline to the folder (as I can in FCP7) - Premiere seems to only allow one clip to be dragged at a time. Very tedious. And the suggestion I read on the Forum doesn't quite match MY Premiere CS6 (the menu items are not the same).
Any suggestions would be most appreciated...
Ben

Hi joe bloe,
It is similar. And then my question is: how do I get all the clips on the timeline into a bin in one drag and drop (not one at a time)? And once it's in the bin, what are the menu steps to batch export?
I have a vague memory of using the Media Encoder to batch out some clips several days ago - but can't remember if they came directly from a Premiere timeline...
Apologies. I'm in the middle of a complicated job, with three different type cameras going, two of which I haven't used before, and thus my brain is a bit fried for searching through manuals.
Ben

Lightroom 4 - Banding/Posterization in shadows

Hi,
Ever since I upgraded to LR4, I've noticed severe banding/posterization in the shadow areas when using the graduated filter with reduced exposure or using the vignette to on Amount -100.
I previously used these tools in LR3 to create fade to black areas in my shots, but have noticed that now, instead of a nice smooth gradient, I get a hard black edge, with a green band stippled into the black before returning to (in this particular case) a grey backdrop rather than a smooth transition from black (like I used to get with LR3).
Initially I thought it was my GFX card as my main one died and I temporarily replaced it with an older card. However, I recently purchased an Nvidia GEForce 630 as a replacement and it's still an issue. I also exported a file and viewed it on my partner's HP latop and the issue was still there.
I googled LR4 shadow banding to try and find answers but didn't have much luck. Is any one else experiencing this issue, or do I just have some sort anomoly?
Tech info::
Windows 7 64bit
Lightroom 4.1
Dell 2408 WFP monitor
GeForce GT630
Spyder 3 Calibration
Any help would be appreciated as at this point I'm not sure whether it's something with my system or LR4.
Thanks in advance.

There is an issue with the 'local tools' in that they are applied before the global tools, which can reduce dynamic range in the highlight and shadow areas. This may also be the case for the Post-Crop Vignetting tool, but I haven't tested it.
http://forums.adobe.com/message/4612100#4612100
Why it only shows up with certain cameras is probably due to the available dynamic range in the individual raw image files.
Another possible issue that could be contributing to the "banding" artifacts is your Dell 2408WFP wide gamut monitor. Using a wide gamut monitor with 24 bit display data stretches the available gradations (16,777,216 colors) over a wider range, and provides less smoothness (i.e. banding). Many wide gamut monitor users will argue that this is NOT the case for them and that may be true. But anytime you use "extreme settings" in LR (100% settings, two graduated filters/spot tools) you're setting up a situation where banding may become visible. Try exporting an image with banding using TIFF, ProPhoto RGB profile, and 16 bit data, and then view it on another system equipped with a standard gamut display. You can also download this Ramp test file from AMD's site, import it into LR, and see if you have visible banding:
http://www.amd.com/us/Documents/ramp.psd
Photoshop supports a full 30 bit display data path when using a 30 bit graphics card, but Lightroom only supports 24 bit display data.
In short you have multiple things in LR that may be causing the artifacts you are seeing. My best advice is to use the global controls more heavily (Highlights, Shadows) and lighten up on the locals, since they can reduce the dynamic range in your image.

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I have used a very old version of adobe premiere (premiere 5 windows) to print timeline pdfs of pix icon and waveform of animatic quicktimes. I would add anotations to these in acrobat for specific animation timing direction ( as replacement for traditional animation exposure sheets). My problem is that adobe long ago dropped their print timeline feature in more recent versions and I can't get the old version of premiere to even launch under any recent OS....
I'm hoping there is a way to do the same thing with new Premiere Pro CC ....(just print premiere timeline of pix icons with audio waveform).. or a third party export for animation exposure sheet use... Any Suggestions?
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Woody

Woody,
Thinking about your situation, I wonder if something like this would be useful (what Joe suggested, but with variations):
I just expanded a blank Narration Audio Track, to about 6x the width of the displayed Video Track, did a screen-cap, brought it into Photoshop, and Selected that area of the Narration Track, applied a Hue/Saturation Adjustment Layer to it, to give room for annotations, etc.. As I only have PrPro 2.0 on this old laptop, things will look a bit different, but with the Adjustment Layer, it will not matter if the GUI is a darker gray.
One can always add a blank Track, where desired, and expand it to suit. One could also create a white Filled Shape, w/ grid (see below), and just have that ready to be Pasted into the screen-cap of the Timeline. One could probably create an Action, or a Script, to handle much of that automatically, or at least semi-automatically.
It is missing the grid, that your image shows, but one could easily create that with Paths and a thin Stroke on a Layer.
There IS a little work to be done, but not THAT much.
Just thinking of a workaround.
Good luck,
Hunt

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Hi!
I am very disappointed how Premiere CC export h.264.
Every time exported movie have artifacts.
Every time in different places.
I have delete all cache, changed nvidia drivers., finally removed all nvidia drivers and expored without them.
The result is - always artefacts - like colored squares on video or
like this
http://savepic.net/3898131.htm
Premiere cc 7.01
Nvidia gtx-660
Sequence-match export-1920x1080 25p 16Mb CBR.
Footages Not spanned MTS from Sony Nex-100
Effect - fast color correct.
What can I do? It is impossible to work!!!
Update.
Just export to lagarith from Premiere
The result is also with artifacts.
http://savepic.net/3879699.htm
Then import lagarith avi to media encoder and export to h.264
And what I see - there are new artifacts.
http://savepic.net/3882771.htm

This is exactly my experience with Premiere CS6 and CC h264 export.
The artefacts I had are not as bad as you show in your pics, but always exist in every export.
Now, I'm using UT-codec to export and convert it without artefacts with TMPGenc x264.

Frame Rate and Codec issues in Premiere CC exports

Here is the breakdown.
My timeline is...
A 24fps HD timeline in a Cineform Codec
My first SD Export was...
Quicktime / NTSC DV 24p preset
Result...
Looks interlaced and squshed in QT Player and claims the file is 29.97fps
Looks interlaced but not squished in Windows Media Player unsure what frame rate it thinks it is.
Looks decent in my Premiere timeline and claims it is indeed 23.97fps
2nd Export I tried HD...Quicktime / HD 720p 24fps preset but changed aspect to 1920x1080 with Animation codec
Result... HD footage sounds fine recognizes the images in the clip if you click through it in the source monitor, but wen rendered from yello to green in the timeline, the video just reads Media Pending.
Really need help with this ASAP. On a harsh deadline. CC is proving to be more truoble that it was worth upgrading from CS4.

We are sending the most uncompressed SD version in 23.97fps for another person to author on their end with the compression that will accomodate the other tracks on the disc and get the best quality. We were told to send a QT file at 23.97 since the original file was a 24.0 fps project (nativly shot on 35mm film) BUT the file we exported at 23.97 to send as a test read as 29.97 outside of Premiere. If I can solve the annomally with the frame rate changing between Premiere and a QT Player window I will be a happy camper. Has anyone had issues with frame rates being messed up on export and not exporting as the setting you set it on?
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If you have a miniDV camcorder that has an option to record 480p24, you can capture firewire it into Premiere Elements 7, using the project preset = NTSC DV Standard in New Project dialog. And, it is well known that in this DV Capture, the capture will result in interlaced video at 30 frames per second, even if your miniDV camcorder’s footage is progressive. In the process, a pulldown is applied wherein the 24 progressive frames per second is changed to 30 interlaced frames per second.
You edit your video on the Timeline. After you finish editing, I do not see that you have an opportunity to remove the pulldown in Premiere Elements to revert from 480i30 to 480p24. So, export would be the usual routes for 480i in Premiere Elements, I would think.
Now, here comes my question. What if you decide to export that Timeline back to the camcorder set at 480p24 using Premiere Elements' Export to Tape? Would the pulldown be removed and would you end up with 480p24 on the camcorder’s tape? I think not, but I am not sure. I suspect that the Export to Tape might not work at all, if the project preset is set at 480i30 and the camcorder at 480p24. Do not know.
The bits and pieces of information that I have accumulated are:
There are two varieties, 24p and 24p Advanced
24p was not intended for the pulldown to be removed
24p Advanced was intended for the pulldown to be removed
In this regard, it looks like Premiere Pro can handle the pulldown.
But, I was wondering if Premiere Elements' Export to Tape had any hidden merits in this regard.
Any comments would be appreciated since I do not have the necessary tools to try it myself.
ATR

SG
Thanks for responding. I was thinking in terms of a camcorder like the Panasonic miniDV AG DVX100 and some other camcorders from Panasonic that shoot 480p24. I ran across this online and got curious about the topic and wanted to learn more.
A Steve Mullen article on "Progressive: What You Need to Know" got me started in this direction, and I wondered just how far, if at all, you could drag the Premiere Elements' Export to Tape into this. I am a "dedicated" Premiere Elements person who will probably never defect to Premiere Pro which I suspect would be the better choice of programs for 24p.
ATR

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I am a PC user. One of my clients uses Mac and Camtasia to screen capture his software program, which I need to integrate into a video I am making for his company. The MP4 Camptasia file he sends me looks good. I bring the file into Premiere to edit it, but when I export it, the clip done with Camtasia has very poor quality, while the footage I shot with my video camera looks great.
Specs:
Camera: HMC40, PH mode 1080/60i (MPEG-4 AVC/H.264 compression).
PC: i7 quad-core 64-bit running Windows 7 Professional 64-bit, 8 GB RAM.
Editor: Premiere CS4 in the Adobe CS4 Master Collection .
New Sequence setup in Premiere: AVCHD > 1080i > AVCHD 1080i30 (60i) Anamorphic.
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Format: MPEG2
Preset: HDTV 1080p 29.97 High Quality
Multiplexer tab > Bitrate and Buffering Details: Variable
Video Tab > Basic Video Settings > Quality: 5
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Profile > Main
Bitrate Settings: Bitrate Encoding: VBR 2Pass
Minimum Bitrate: 4 (default)
Target Bitrate: 15 (default)
Maximum Bitrate: 18.5 (default)
GOP Settings > M Frames: 3 (default)
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My question about the Camtasia clip:
1) How can I get the Camtasia footage to be as sharp in the export as in the original?
Other questions in general:
2) Are my New Sequence setting in Premiere correct? AVCHD > 1080i > AVCHD 1080i30 (60i) Anamorphic
3) Is my choice to export as MPEG2, HDTV 1080p 29.97 High Quality preset, the best for the footage I shoot?
4) Is my choice to set the Multiplexer tab > Bitrate and Buffering Details at ‘Variable’ the best?
5) Do my Bitrate and GOP settings need adjustment?
6) Should my Export field order be Upper instead of Progressive?

function(){return A.apply(null,[this].concat($A(arguments)))}
The frame rate is 1038 X 882
That is a very odd frame size, and one that probably won't work well no matter what workflow you use. You asked:
function(){return A.apply(null,[this].concat($A(arguments)))}
how could he better capture and export to match my workflow?
Have him capture and export to match your desired export frame size for the finished project.
function(){return A.apply(null,[this].concat($A(arguments)))}
How would you suggest I change my workflow to handle the interlaced and progressive issue?
I can't answer that until I know exactly how you intend to deliver your finished video. Any answers to your other questions will also likely depend on your intended delivery format and media.
-Jeff

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I am having a problem I don't think existed before.
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We can't know anything. You have not provided any system information or details about your project. By power of deduction it stands to reason that firing up Premiere initializes a specific CoDec or hardware driver required to handle your footage, but otherwise there is nothing anyone can say about the matter.
Mylenium

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DJ Sinbad.

Wrong forum buddy, try here...

Media Encoder is rendering an older version of my Premiere timeline.

This has happened to me on a few occasions, where I have a dynamically linked After Effects comp in my Premiere timeline, the changes I make appear as they should in the Premiere timeline, but when I queue it to Media Encoder or render directly through Premiere, it renders the older version of the AE comp, as if it thinks nothing has changed. This happens even after cleaning the cache, saving a new copy and restarting premiere.
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This is how it looks on my timeline (Correct):
How it looks when I queue through Encoder (Incorrect):
Any help on how to avoid this in the future would be much appreciated!
Cheers,
S

I thought you had something working after you installed FFDshow tryout.
It would be helpful if you could upload one of your files that you can't convert to a file sharing website. Then others can download the file and work with it on their machine to see if they can convert it.
I use MediaFire's (http://www.mediafire.com) free plan to upload and share files. For example, http://www.mediafire.com/?uhpmob5nc1w6q is a link to one of my files: "Kodak Zi8 720 30p." It's not a direct link.

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>comes up with some error
That is just too vague for anyone to help
Post the TEXT of the error message... and do a forum search to see if there are other messages with the same error

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OK, the truth is I have never run Encore before.
I have Premiere Pro 2.0.
I need to start authoring some DVDs.
I don't think the Authoring capability included within Premiere Pro 2.0 will quite do it for me. So, I'm looking at getting Encore. A couple of questions:
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2. What version of Encore should I get? (I'm not even sure any version other than CS3 is available.) If I get CS3, will I need to start using Premiere CS3 as well?
3. I want to have Dolby Digital (AC3) format to save space on the DVD disc. Does Encore take care of this?

Just looking around, I saw that Amazon.com.UK had EncoreDVD 2. Amazon (US), only listed the upgrade. eBay might be a good source, but beware of pirated, bootlegged, etc., versions. Adobe Store does not list it any longer, but there might still be some legit copies hanging about, either privately owned, but never installed/registered/activated, or by retailers, who did not sell every copy, prior to the release of CS3, and the change in packaging.
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1st, show your export screen so people may see what you are doing
https://forums.adobe.com/thread/1070933 for screen shot instructions
2nd, when you ask a question you need to provide more information for anyone to try and help
-Premiere Pro Video Editing Information FAQ http://forums.adobe.com/message/4200840

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thanks.

That is exactly my point! Why should I have to export an audio channel and increase the file size to work around a known bug of the software...
We export about 100 videos a day and it will add up. These are files that will be online, and size is an issue.
I'm just not sure that we'll want to invest in software with a known bug that hasn't been addressed after months.
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Banding/Posterization Artifacts in Premiere Timeline & Export

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