I'm beginning the biggest project I've done in PP - a 3 minute video portfolio, and I'm looking for recommendations for the best settings to start with that might serve me well /be unlikely to cause grief for the next 5 years at least.
Choosing one from all the new project settings is confusing - I don't know which works best for what. All I know is 1920x1080 would be good but not sure about frame rate (or other concerns?). I'll be importing some cell phone footage, but mostly this video will be static images in motion with voiceover. (I could do most of it in AfterEffects but I like PP). best cpu for premiere *Download File 🗸 https://fancli.com/2zJenU <https://fancli.com/2zJenU>* The only things that matters is the correct frame size, the correct frame rate and the correct aspect ratio. If you have 1920x1080, 23,976 fps, 1.0 PAR thats what you want your timeline to be. There is no setting for "best" or "better than..." quality. If you however have 1920x1080, 23,976 footage and put it on a 720x576, 25 timeline you will loose quality. Always aim for the sequence settings that matches your footage. When using Presets i often choose from the Canon XF MPEG2 or Digital SLR, or use the Settings tab and set everything manually. Selecting the preview codec is only important if you will render effects on the timeline that are too heavy to playback in realtime and when you use those renders to speed up the final export. The latter is not a must. Thanks. I guess what most concerns me is the most usable and forgiving *frame rate* for my needs - web delivery. I would guess if I used 30fps, it might be better in the future if I needed PP to convert and export, for example, to a slower frame rate, rather than starting with 23,976 and converting it to 30. I dont know what your needs are, but you wont gain anything if you per your example convert 23.976 to 30 fps. The result will be the look of 23.976 in a 30 fps video stream. It wont be more fluid just by choose a higher frame rate when exporting. Unless, you are mixing fram rates on the timeline. Then it can and will make a difference, but 23.976 will still look like 23.976 even if you export it as 60 fps. To meet your needs you must choose the frame rate when shooting. If you want smooth motion, use a higher frame rate. If you want more stutter, choose a slower frame rate when shooting. Planning is the keyword here. I already started the project with the default settings from dropping an iPhone vid (scrncap) into the timeline - 30fps, 1920x1080, Square pixels, 48,000Hz audio sample rate - when it occurred to me I might have trouble down the road because I'm just a PP hobbyist atm, and it might be necessary in the future for some reason IDK why to convert frame rate or pixel dimension. I know more is better. I would never set up a 23,976 project knowing in the future I'd need to export 30fps. But converting 30 to 23,976 seems like it would be more forgiving - ie, fewer glitches. Unlikely I'll need to do this, so just curious... With web delivery, file size vs streaming/buffering have been issues in the past, although universal broadband is changing things. And since this is a portfolio vid, I want to setup the PP doc with the highest practical resolution that keeps my needs in mind. If the goal is to deliver to YT/Vimeo fram rate is *nothing* to worry about. They take the frame rate you upload. Using 23.976 will be ok, so is 60. Converting frame rates is something you do when you have no other option than to do it, when there is a need for it. Thats the only time one to do that. You do however have a good reason to convert your iPhone footage to a *constant* frame rate before you start to edit it. All smartphones record using *variable* frame rate. Variable frame rate+Premiere Pro do many times cause issues such as audio drift in the exported media. Premiere Pro wants constant frame rate. I produce animated content in after effects which I have previously always edited in Avid. As such when I render out of after effects, I use the Avid DNxHD codec, which Avid uses natively and can therefore fast import. For my next project, I'm going to be using Premiere Pro instead of Avid, therefore I wondered if anyone had any recommendation on what format / codec is best to use going from After Effects to Premiere Pro? Obviously I can just continue to use DNxHD, but I thought I'd check in here before doing a load of renders in case that is not the best way to go. Thanks for the reply - just to follow up, as you say keep using it until I'm comfortable using PP - assuming I do become comfortable with PP, is there some other format you would suggest I would use at that point? >From my standpoint, the event is always an opportunity to do three things: connect with the broader Napa winemaking community; get a sense of the vintage as a whole (since most wines share a common vintage); and taste some of the best wines made in Napa Valley. The wines made for Premiere are often the very best barrel produced by each winery that season or are special blends made exclusively for sale at the event. Offered in 5, 10, and 20-case lots, they are often, and accurately, described as the rarest wines made in Napa. Yesterday morning, February 24th, I joined hundreds of my industry colleagues in the extremely chilly barrel cellar at Charles Krug Winery to taste through 154 lots being auctioned off this year. While the cellar was cold, everyone was chillier than usual having woken up to the unusual sight of snow on all the surrounding mountains thanks to what meteorologists are calling the most intense winter storm to hit California in decades. In fact, everyone attending the event only got the chance to taste 153 samples of wine because the poor folks at Keenan winery were stuck on Spring Mountain, their path to the tasting blocked by a massive tree (bigger than the chainsaws owned by neighbors) that had fallen across the road. Coming off of three years of drought, the 2021 vintage was destined to be small. The winter delivered a scant amount of rain in January and February and then almost nothing after that. While this lack of moisture had the effect of limiting the amount of fruit that the vines were ready to produce, the lack of adverse weather also meant that both bud break and flowering proceeded uneventfully. In short 2021 is the best vintage Napa has seen in more than a decade, in my opinion, and tops even the exceptional 2019 vintage, which is just now hitting the market. It will be a couple more years before these wines are available to consumers, but they are going to be worth waiting for and worth stocking up on. Wines are grouped by their rough score category below, and listed alphabetically by producer name. They are accompanied by the brief notes I made in the moment while tasting, edited only for clarity and grammar. We use cookies on this site to give you the best experience. This includes features such as remembering your desired language preference, not bugging you with repeated suggestions to sign up for our e-mail summaries, etc. If you continue to use the site we assume you accept these cookies and the way we are using them. Read our privacy policy. This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful. I must, however, say that the training page on Black Magic Design's website has a complete set of tutorials based on each of the workflows, from editing to color-grading. If you've ever watched some tutorials on YouTube, you might've heard the name or watched Sam Kolder's videos. And even he's migrated completely from Premiere Pro and now is launching a course on DaVinci Resolve. If budget is concerned, basic skin retouching can also be done in After Effects rather than Autodesk Flame. In this way, Premiere Pro is easier to use for everyone in the production pipeline. I must say that I am not yet versed in retouching in DaVinci Resolve, although I have heard good things. I might be biased because I own a 6K Pro Pocket camera from Black Magic Design. I therefore have Da Vinci Resolve Studio too. But, I subscribe to Adobe Creative Cloud because I also do a lot of photo retouching and when my team shoots commercials, we do the dailies and editing in Premiere Pro. I bought Final Cut because I wanted to change to an easier method of getting videos out, but found myself stuck with regards to collaboration. Wouter is a portrait and street photographer based in Paris, France. He's originally from Cape Town, South Africa. He does image retouching for clients in the beauty and fashion industry and enjoys how technology makes new ways of photography possible. I am just a casual photographer and videographer with60+ years using still and 25 years of video. All round I love DaVinci and have the studio version which I upgrade religeously. Prefer the one off payment and not the ransome of Premier Pro which I did use in the past. I'm a multiple Emmy-award winning editor. I mainly use PP. There is quite a bit of wrong information in this article. Mainly about FCP. Apple lost the pro market when they f-ed up the launch of FCPx, but that was what....15 years ago? Since then, FCPx has changed - a lot - and it can go toe-to-toe with any platform. UI/Panels - I completely agree. It sucks in X. I love the ability to grab a window in Premiere and sling it to whatever monitor or space I need it. Well, "sucks" is a bit harsh. It feels limiting, and as an editor, I don't like limits. FCPx has training videos out there for literally every function - just like AE or Davinci. Not sure what he is trying to prove here, other than that he's got an agenda, but his claims here are plainly false. Color: The author states "Basic grades, but also masking certain parts of the frame you want to grade differently, tracking them, and creating a look.. is easier in Davinci" - all of this can also be done natively in FCPx. There was an update a few years ago that added a TON of color functionality to X, including LUT creation, and full tracking with multiple real-time layers of color masks. ff7609af8f -- You received this message because you are subscribed to the Google Groups "Geb User Mailing List" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. To view this discussion on the web visit https://groups.google.com/d/msgid/geb-user/3bc4f277-49e9-4592-b4d3-a981d7961c98n%40googlegroups.com.
