Motion Renders GREEN! 1080p 24p AVC Intra Blues??

I shot a commercial using a Panasonic HPX 3000 with the AVC INTRA codec at 1080p 24p. I sent it from FCP to Motion, tweaked it, then round tripped back to FCP, rendered and the entire image is GREEN. Please help. Deadline looming.

hi,
welcome to the posts.
Have you tried exporting out of motion, either through compressor or as a direct export and importing that clip into fcp. If you have a deadline then this might help you meet it. I had a motion project yesterday that fcp could not render without crashing. Dont think compressor liked it either, had to export from motion as an uncompressed 10 bit and fcp was happy. Think it had something to do with the four emitters I had running, shouldnt be a problem really though.
hth
adam

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Green Screen using AVC-Intra 100 ugly

Been using the hpx300 for approx two months mostly in 720p with great results. Just wraped our first true HD green screen shoot using avc-intra 100 at 24p with the intent of producing a white background mac-ad type, 5 min talking head corporate piece in SD. I had the camera mounted at 90 degrees to capture the 1920 pixels of subjects head-to-toe so I could then manipulate individual zoom and placement in post within a SD timeline. I've got two issues: one is that the images in post seem noisy, and any movement, as in subjects walking across screen, is a total mess - I say seem because all recording and playback on location looked just fine on a 1920x1200 monitor via blackmagic i/o box. I normally do basic editing in premiere with much help from AE for composting and color correction etc. Keylight has always worked great in the past. I must have something wrong with settings in the avc-intra HD content? Secondly, workflow is a bit convoluted... Keylight doesn’t apply in premiere, and AE doesnt do avc-intra. The workaround is to export avc-intra premiere timeline to AE and key that. In theory it should work just fine, but again my images are just noisy. Could this PR to AE workflow degrade image quality? Any suggestion greatly appreciated! Thanks, Matt

Poster must be busy shooting more stuff....
Found some info on that " hollywood camera " site.....
IS HD REALLY HD- GREENSCREEN ISSUES
These plates were all shot with an HVX-200, mostly with the 100 MBps DVCPROHD codec. This was good enough for us for Visual Effects For Directors because we had specific needs, but we don't consider them good enough for full film production.
Here's why:
COLOR SAMPLING: We      prefer all green screen to be 4:4:4, so every pixel has a unique color.      4:2:2 only updates the color every second pixel, but green screen      desperately depends on a sharp, accurate, scientific color transition.      With 4:2:2, you're operating in half resolution. But if you downsize, like      we downsized to 720x480, you're at full resolution again. So because we're      delivering in SD, the plates are 4:4:4 for us. They'll just be 4:2:2 for      you if you're delivering for an HD movie.
PIXEL ASPECT: When      a camera is listed as 1920x1080 HD, that's really stretching the truth.      You'll see that all our plates are in 1280x1080, which is the original      camera resolution, meaning that the plate has to be stretched 150% on the      X-axis to be in the right aspect. In other words, you're only operating at      66% resolution on the X-axis. Did someone say "smearing"?
NOT EVEN 4:2:2: By      the time 1280 has been stretched to 1920 to make up for the 1.5:1 pixel      aspect ratio, 4:2:2 has been stretched out too, basically becoming      4:1.5:1.5
LENS RESOLUTION: Nobody      besides DPs really thinks about the fact that a lens has a resolution.      Zoom lenses are made of many lens elements in a clever configuration, and      each element introduces some blur. That's why top-notch DPs like to use      prime-lenses cut from diamonds from King Solomon's mines, because if the      lens limits the resolution, it doesn't really matter how well you record      the signal after that. Some people have come to the conclusion that the      HVX-200 is really a 720p camera, because the 1080p resolution doesn't      really come through. We tend to agree, but we don't want to start a      religious war, and will say that it's just our personal experience. On top      of that, we've used a $500 wide-angle adapter on some shots, which really      butchers the pixel resolution, so even though we're recording at 1080p,      we're really not. But 1080p allowed us to record with the 100 MBps      DVCPROHD codec, which meant that we still got a very respectable resized      SD signal out of it.
BAYER PATTERN: Most      cameras use a Bayer pattern on the chip, so that every pixel is EITHER      Red, Green, or Blue — but not at the same time. A full Red-Green-Blue      pixel is derived mathematically by interpolation. It's no wonder that some      organisations are starting to call for an objective standard for what      really constitutes a pixel, because a Bayer pixel is definitely not a real      pixel — more like half a pixel. By the way, there are twice as many Green      pixels than Red or Blue in a Bayer sensor, so you're far better off using      green screen than blue screen on video.
HALO: Even      with the internal sharpness generator completely disabled, the HVX-200 has      a clear black fringe several pixels wide on the right side of actors on      green screen. Panasonic vehemently denies it, but it's very easy to see.      In this      picture, notice that white areas get a fringe, but darker areas, like      her legs or hair, don't. Panasonic's explanation has been that it's just a      shadow from the lighting (huh?), but the halo is on the KEY side — so the      only plausible explanation is a quantum singularity localized to the actor      which bends light as it passes by her body. We think it comes from the      Bayer pattern, but we're not sure. And Panasonic shouldn't feel bad. A Nikon      D80 does it too.
HEAVY COMPRESSION: Even      though it seems like a lot that we're recording at 100 MBps in the      DVCPROHD codec, if you calculate the bit-rate per true output-pixel, we're      actually still compressing at a whopping 15:1.
NOISE: Video      cameras in this price range tend to have rather high noise, and on top of      that, they're usually 8 bits per color channel. This can result in some      highly visible shadow noise that almost pixellates when the brightness is      just on the edge of a bit-threshold. You can see some of our plates doing      this.
An HVX-200 and all its brothers and sisters in its price range simply don't have the horsepower for full pixel, high dynamic range, high resolution, uncompressed production that you need to do truly professional green screen. Green screen is ultimately a scientific process, and is one of the most demanding things you can do with your camera. Regular live-action images are MUCH easier for your camera to handle, so for regular filmmaking, your camera is fine, don't feel bad.
We have nothing against the HVX-200 or its brothers or sisters — come on, we shot a whole DVD set about visual effects on it — but it's important to really understand what the limitations are. It's fine to own your own camera for regular filming. For green screen, you should consider renting the very best you can afford — and make every decision right, which is where we come in.
Thanks for reading!
Rod

Will PE7 Output a Blu-ray 1080p 24p Disc

I have a Canon HF10 camcorder and just shot a bunch of video using the camcorder's 24p setting. My question is will I be able to use PE7 to output this video to a Blu-ray disc at 1920*1080p 24p?

Thanks for the follow up. I get the message.
BUT, I just had to add just ONE more comment, and then I will fade away for awhile.
For better or worse in the absence of hands on experience with HDV, I decided to dig into "can you or can you not" edit 1080p video on the Premiere Elements 4 Timeline with a project preset of 1080i.
I found online a downloadable 1080p video. It had a .wmv file extension, rather than a .m2t, but I tried it anyway. There was no problems with video, audio, and editing of it of the Timeline. Everything looked great and sounded great without having to render the Timeline which had a red line over it. I did this with Premiere Elements 4 project preset to 1080i30 as well as 25. I am going in search of 1080p with a .m2t file extension in order to repeat the exploration. I suspect that I may have to change the .m2t file extension to .mpg, but we will see.

Dropping Frames during Playback with AVC Intra 50

I work in TV News and we recently switched from DVCPROHD 720P 60 to AVC-Intra 50 720p 60. The DVCPRO HD worked great with Premiere. When video was placed on the timeline the clips had a green line over them and everything played glitch-free, with no dropped frames. The AVC-Intra 50 is a different story. On the timeline it comes in with a yellow line over the video, and the drops frames when played in the timeline. Rendering the sequence changes the yellow line to green, but it still drops frames. We feed out via the thunderbolt connection to an AJA i xt breakout box, and I'm getting video and audio glitches when feeding. This was never a problem with the DVCPROHD. The sequence settings are set correctly for AVC. I tried changing resolution of program monitor to 1/2 and it had no effect.
I'm editing on
Macbook Pro OS X Version 10.8.4
Processor 2.7 GHz Intel i7
8GB 1600 Mhz DDR3
Latest Version of Adobe Premiere CC
These are my sequence settings for video previews

Wow, lots to think about -
some quick responses (it's half 1 in the morning!)
*Not running any other apps at all (no virus software)
*Really hope there is nothing wrong with £149 brand new drive..!!
*Energy Saving Options never put HDD or computer to sleep
*No Camera or deck or anything plugged into drive. Graphic Tablet in USB.
*Most interesting thing is what Brian Conner said about the actual project file, I will try moving this as when I got the new drive I dragged this .fcp file onto there as well... Where should I put this on my Mac HD? I think the default is in Documents? this is the very small 'pointer file' right?
J
PS: As well as the project file - should the Waveform Cache, Thumbnail Cache and Autosave Vault be on the Boot Drive??
Message was edited by: jfss

Export of 1920x1080 AVC Intra footage jumpy

I have edited an HD project in FCP and exported the entire project as an FCP quicktime file and then brought that into Motion. Having applied all the text and behaviors to that text, when I try to export the clip it jumps.

Thank you for links, but I have to disagree again. Maybe quicktime blending fields (gamma interpreting is not an issue right now), but it clearly shows differencies in interlaced structure. I understand, that it is quite complicated to demonstrate the problem on a progressive monitor, but I can still see a serious problem how PPro handles AVC-Intra 50 footage. Let's make a test in a robust way - playing back the same footage via camera and capturing the footage via SDI capture at the same time. I'm expecting the same results, but it's clearly not. I cannot upload the image here, but here is the link - compare yourself: http://www.upload.ee/image/3378712/compare.jpg
Maybe for someone it's comparing apples and oranges, but you can see the serious problem when you exporting the footage to progressive format. Here is the deinterlaced result: http://www.upload.ee/image/3378721/compare-deint.jpg

Black screen while using x264 with AVC Intra 100

Hey,
I've got Premiere Pro CS6 and I've started testing the use of x264 with Dxtory. The problem I face is that the footage is incompatible with every sequence preset (as far as I know) apart from AVC Intra 100 (AVC Intra 100 1080p 30fps is the one I'm trying to use). However when I use this preset all that the preview gives me is a black screen wheras the audio is playing perfectly. This isn't urgent as it's always possible to just convert the footage to MP4 with Handbrake however not being able to use this codec would be a shame, especially since I've seen others using it without any problems at all.
Thanks,
Lawrie

I'm not familiar with x264 or Dxtory, but a search of the forum for "x264" and "black" led to this thread: http://forums.adobe.com/message/4733946#4733946.
Which leads me to ask: what is the extension of the file? A little research on Dxtory leads me to suspect that it's an .avi. According to the thread above, Premiere does not support x264 content in an AVI wrapper.

AVC-Intra to Prores- or not?

I have a project that was shot AVC-Intra.
Can I use the native codec or should I convert files to prores 422?

AVCIntra NATIVE is an option in Log and Transfer. The issue is that there are no AVCIntra sequence settings. You'd have to use ProRes...so why not encode to ProRes so there is no rendering while editing?
You cannot use Compressor on P2 media...you have to bring it in via Log and Transfer.
Shane

Does FCP support the new Panasonic AVC Intra codec?

Does FCP support the new Panasonic AVC Intra codec?
NOT AVCHD but AVC Intra?
Will it require more rendering or converting before I can use it?
I am looking at buying the HPX-2000 with the new AVC Intra board, recording to P2. AVC Intra is H.264 codec.

I don't think this is supported yet.. but the camera's ability to shoot DVCPROHD certainly is.
Jerry
Message was edited by: Jerry Hofmann

Try to ingest Panasonic HPX 250 AVC INTRA 100 wich ends AME crash

Hi!
I just bough new camera Panasonic HPX250 and now I try to ingest the footage with Prelude.
Every time after Media Encoder loads the source and tryed to start encoding it ends to crash (look image)
I have tryed also to uninstall whole CC package and Cleaned with CC Cleaner tool and actually done it twice. Original footage is on 1080i50 and I just try to transcode it to single MXF clip with same parameters cos in P2 card the one over 60 minutes clip is cutted in multiple clips. My goal is get that in one peace to Premiere.
Please help me!
Greetings
Sami

Hi -
QE reports this might be related to a known issue with smart rendering for your selected transcoding preset. Please try turning smart rendering OFF in AME. To do this, open AME and find the preset you are using: It should be under MXF OP1a->AVC-Intra. Right click on the preset you use and select "Preset Settings...". Within the Preset Settings dialog that will appear, select the VIDEO tab and scroll down until you see the check box "Enable Smart Rendering codec". Uncheck that.
Since you changed the default state of the preset, you can now save this as a CUSTOM preset. Give it a name at the top of the Preset Settings dialog (in the "Preset Name:" field). Then click the SAVE A COPY button at the bottom of the dialog. This preset you just created will now appear in Prelude.
Let us know how this works for you. We are looking into the bug and hope to have it resolved in our upcoming release.
Regards,
Michael

Since last Premiere Pro CC Update no more MXF AVC-Intra Class 100 Playback. Any suggestions?

I updated Premiere Pro CC two hours ago and since then there is no more realtime playback of my MXF AVC-Intra Class100 1080p footage, which worked perfectly bevore. When paused it shows the current frame of the footage after about 10 seconds. Does anyone else have this problem or are there suggestions what I can do?
Thank you! David

Hi Vinay,
the reset of the preferences did the job! Thank you very much for your help! For everyone else having the same problem, press "ALT" while starting premiere to reset the preferences.
Thank you very much!!
Regards, David

AVC Intra vs XD Cam playback

I'm trying to figure out why I'm getting such varried results with AVC Intra 100/50 and XDCam clips. I'm in an arena production environment with a variety of sources and while I think AVC-I 100 should be my codec of choice, I just don't seem to get the performance I'm expecting.
For example, I shoot 720p AVC-I 100 & 50 as well as DVCPro HD on P2. I'm import everything through the media browser and all my clips come in with the yellow playback indicator and stutter unless rendered. I create my sequences by dragging the first clip onto "New Item" icon in the bin so as to make sure the setting match.
I also bring in 720p XDCam 50 MXF files from an EVS XT Access transcoder and a Grass Valley K2 with Dyno Elite. Those clips come in with no render indicators and play back completely smoothly.
Is this typical of P2 workflows?
I have pretty high end hardware.
An HP Z820 with two Xeon E5-2670 procs. 48 gigs of RAM, Quadro 4000 and AJA Kona 3. I'm editing from a 32TB Editshare with gigabit network.
Thanks for any insight you might be able to provide.

Raid3 is better suited for video editing work, because it is more efficient when using large files, as clips usually are. Raid5 is better suited in high I/O environments, where lots of small files need to be accessed all the time, like news sites, webshops and the like. Raid3 will usually have a better rebuild time than raid5.
But, and there is always a but, raid3 requires an Areca controller. LSI and other controller brands do not support raid3. And Areca is not exactly cheap...
Keep in mind that a single disk shows declining performance when the fill rate increases. See the example below:
A Raid3 or Raid30 will not show that behavior. The performance remains nearly constant even if fill rates go up:
Note that both charts were created with Samsung Spinpoint F1 disks, an older and slower generation of disks and with an older generation Areca ARC-1680iX-12.

Anyone used AVC-Intra 50 or 100 successfully?

I'm trying to play AVCIntra 50 clips on my timelinme but they need to be rendered. Is this right? Do AVC-Intra clips that are in a project that is created to be AVC-Intra 50 need to be rendered ? Shouldn't they play without rendering?
Has anyone been able to do this?
Thanks

Yes Codec wise the MXF files are an I-frame H264 MPEG 4 compression - but that is not what I uppose against.
Its Apple banging the big drum saying, that now FCP 7 works naitivly with AVC Intra both 50 and 100.
AND.... thats NOT true. Anyhow... its not logical that you dont have a Apple AVCIntra codec choise in your sequence settings.
YES I know to set the Sequence settings for ProRes... But that I have done for 2 years now and had to wait for FCP to transcode the AVCIntra MXF files to ProRES....
Now I have to wait for my sequence to render all the time, and I dont think thats a great trade off - more like a pain in the but

AVC intra 100 in FCP

Tried to "log and transfer" a Panasonic HPX3000 P2/AVC-Intra 100/ 1080x1920 60i/24P file but Final Cut Studio 2(6.0) didn't read it What did I d wrong?? have the latest Macbook Pro intel computer, I have uploaded the Panasonic AVCintra Decoder in my mac succesfully.
I have i my Audio / Video setting chosen : Apple ProRes 422 (HQ) 1920x1080 24P 48 Hz.
What am I missing??
Anybody know?
I would appreciate it..
Theo Van de Sande

Do you have have FCP 6.0.2? The latest upgrade?
How about FX Factory by Noise Industries? Do you have that? I ran into an import issue with P2 DVCPRO HD and a version of those plugins. They have been updated to fix that issue.
Shane

Audio unstable with AVC-INTRA

I'm working with Premiere Pro CS4, with the last update 4.2.1 in a PC with Windows XP Professional and with the last driver of AVC-INTRA.
When my project is open with AVC-INTRA files (AVC-I 50 1080i50), the two channels of audio changes at a little time and then only I monitoring one channel for the rest of time. Always, when I starting Premiere it's all right. But in a little bit of time, when I edit, for example, or change to another screen of windows, when I return, I only hear one channel of audio by the two speakers. After rendering, the final project it's all right with original two channels. I have installed Premiere in another PC (with windows 7 x64) and the problem is the same. First it's perfect but in two minuts I can't hear two channels. This files, in P2 Viewer from Panasonic, are all right always. The problem is only in Premiere Pro. Any suggestion?

Jeff,
my procedure is:
1.- Format
2.- Install Windows
3.- Install Windows updates
4.- Instal Premiere
5.- Activate
6.- Install Adobe Updates

CS4 AVC-Intra - HELP?

I just upgraded to CS4 from CS3 so I could edit in AVC-Intra from my new P2 HPX300.
Shot in AVC-Intra 50, 1080 - 30PN.
When I put clips on the timeline they need rendering and seem to skip frames??
Shouldnt I be able to play clips in real time without rendering?
Is there something with the native "PN" that is srewing this up? But the camera only allows Native recording at 30p.
Any Advise?
Thanks,
Mark

I use "CS4 Premiere 4.2.1", so is there any solution on this in CS4 or is CS5 better to handle AVC-Intra????
Regards
Mikael

Motion Renders GREEN! 1080p 24p AVC Intra Blues??

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