I've deduced that trying to render in 5. Cyberlink Power Director 17 will only see it as an audio file. I don't see any doucmentation telling me why this is. Why can't Fusion Studio just ask me what output format I'd like to render to? If MP4 can't handle 5. Don't make me waste time experimenting.
Also, attempting to render in Audio will crash Fusion Studio every time, but if I select Stereo audio output, it works fine. The users of this hardware would appreciate some honest options. What's the difference in output files between rendering for Facebook, YouTube, Editing, or whatever the fourth option is? There's no explanations of what any of the options do. Give me that. One last gripe, there should be a disclaimer in the software that your output file's "initial viewing orientation" that you adjust it to when you start the render.
That should absolutely be made more clear to the user. The GUI on Fusion Studio is very easy to use and gives you many options for rendering and outputting footage.
When you add something to the render queue the first thing that pops up is the option to render for Youtube, Facebook, or editing.
Adobe Premiere Pro
I'm not sure why you're not seeing those options. The above options are optimized for the various tasks uploading to youtube, uploading to Facebook or editing high quality files. When you add something to your render queue you can also click on it, this will bring up the options of outputting to H. You can also select the output size and audio channels. When you first select a video clip and click "Add to the Render Queue", you get this:.
What are the differences in my output, based on what I select? Why is there a difference in my Export Destinations? Zero explanation is given.He shoots 4K video using a GoPro camera. But, when he exports the footage it looks terrible; green horizontal lines running throughout the frame. Adobe uses it extensively as part of Premiere; especially on Windows. With the death of QuickTime on Windows, having a high-quality video codec for editing is essential.
However, FCP X only exports a very limited number of codecs, even if the codec you are using does not require conversion. I have always assumed that if you imported a high-quality codec into Final Cut Pro X that did not require optimization, you could always output that same codec.
My assumption was wrong. Here, I think Apple is being unnecessarily restrictive; especially given the death of QuickTime on Windows and the need to support more non-QuickTime codecs. In the Settings menu, illustrated above, there are a number of different codecs and options to choose from. While these include some excellent choices, notably absent are any from the DNx family, which is the native codec for Avid, and Cineform, which is becoming the native codec for Premiere. Both of these codecs provide excellent results and both are already optimized for video editing.
There is no need to convert them to ProRes for either quality or efficiency; though it may make sense from the point of view of standardizing your workflow. However, for editors that have licensed and installed either of these two codecs, it seems to me that FCP X should be able to export these formats.
It is without a doubt a better choice for transcoding and generation loss than any other codec in common use today. There are no deliverables that require CineForm. If you are uploading to a video website, you will be transcoding to their codec. If you are placing [native Cineform files] on your own website, you will have playback issues and are better off converting to H.
If you are putting it on [an optical] disc you are converting to MPEG The workaround is to export an XML file, which references the original Cineform media, then import that into, say, DaVinci Resolve for final color grading and export.
And the current export options seem to me to be unnecessarily restrictive. Gama continued to research the image quality problems with the GoPro footage. Given the ubiquity of GoPro cameras, I was surprised at what he found. Here is the email I got from cineform explaining this. My first render that worked was HD resolution. This is actually a bug that I reported two years ago when we discontinued the paid versions of GoPro Studio and chose to only offer the free version.
At the time, the free version only supported HD. We had intended to remove the licensing restriction from the free version to allow it to encode higher than HD. That work was never done, and, like I said, I reported it as a bug and tried following up on it many times… to no avail.
So our engineers did not pursue fixing something in a legacy product.Michael Gissing. Marc Wielage. David Baud. Glenn Sakatch.
Brad Hurley. Terence Christopher.
Sascha Engel. George Dean. Topic Replies Last Reply Catalina issues? Then how to log footage? Also, what and where?
How you feeling about that? Catalina issues? Vignette issue in resolve by Sean Lennon 1 day ago. Everest - more than color correction by Oliver Peters 2 days ago new activity on April 17, Resolve No regions in DaVinci? Does the free version of Davinci resolve handle 4k Files by Terence Christopher 2 weeks ago new activity on April 10, How's business right now? Stop vs pause keyboard shortcuts in Davinci by Tim Neighbors 3 weeks ago new activity on April 1, List of offline media by Gearoid Conlon 3 weeks ago.
Duplicate File Names - Transcoding in Resolve by shilpa ku 4 weeks ago new activity on March 30, Splitting digitized film into scenes by Frank Lytle 3 weeks ago new activity on March 30, Open FX freezes program every time by Tim Neighbors 3 weeks ago.
Setting location for saved projects by Bruce Gaber 2 years ago new activity on March 28, Custom action and title safe areas by Arran Essex 3 weeks ago.Scan Computers Int. As soon as I saw the announcement, I was curious. We know that the latter two are wavelet codecs, and we know now that they're edit-friendly, and we know Cineform is an absolutely fantastic intermediate codec.
So what did Apple make? Is it wavelets or DCT? How does it handle generational losses? How does this affect Cineform on the Mac? What options will it open up for Cineform on the PC? For the benefit of all the Cineform guys who have worked so hard and long on this, and have already got a proven product, I sincerely hope Apple just licensed and re-branded their technology ProRez is also 10bit in quality.
Although Apple came out with the ProRez codec at this point I still favor Cineform especially with the capabilities it has. It's just a bit depth. I want to know about generational losses and artefacts. Sadly, a lot of the Mac users I've spoken to don't tend to question the wisdom of Apple Tough market to penetrate. Images: Speaking of the name and those whom will bow before it. How many more products are we going to see with the word "pro" in them? Folks at cineform are obviously stirring up competition, and they have have the jump on this with much more experience, and are not locked-in to a specific piece of hardware, either.
I definitely think prospect is more for the money. Very little time to post from NAB, but Apple has opened the door for us with their multi-format timeline. ProRes is nothing special, still needs work. They where show a single generation on ProRes compared to uncompressed StEM and there was a level shift, plan as day not just for my eyes. So they have some kinks left.
It is DCT. No info yet on speed, although trancoding 2 seconds redcode 2K sequence to ProRes took 12 second of the latest and greatest Mac so something is slow, Redcode decoding or ProRes encoding.
We are still on the way to the mac with a very mature codec core. Thanks for the discussion topic. First of all, I'm stepping in for David Newman on this post as he may not be logging in this evening. But some of the following observations are his.
So, day one observation about Pro Res They position it as HD and show presets only up tobut they also mentioned Pro Res in the context of Red at 2K. So we have a bit more to learn about the actual spatial resolution it supports. Obviously we haven't yet had a chance to evaluate its visual fidelity, but we understand it should be shipping with Studio 2 in the next month. It also didn't do a great job on certain test material they were showing.The GoPro CineForm codec is a cross-platform intermediate codec designed for editing high-resolution footage.
An intermediate codec can be best described as a video encoding format designed for professional video editing. You typically use an intermediate codec to pass media files from one application to another in a post-production workflow. The GoPro CineForm codec is optimized for encoding video content with 4K and higher resolution, including support for smart rendering. You can also render and transcode files in mixed formats into a single GoPro CineForm codec to archive, or share with other teams and systems.
A distinct advantage of using the GoPro CineForm codec is the minimal loss in quality even after multiple encodes. For more information, see the GoPro CineForm website. You can download QuickTime from Apple's Support website. The Consolidate and Transcode feature in the Project Manager lets you effectively archive projects, especially large projects with many clips and different media formats.
You can easily move all relevant files in projects and sequences, and transcode them into a GoPro CineForm intermediate codec. You can archive this codec, or share with other teams and systems. At any point, you can re-edit the archived projects in Premiere Pro. For more information on using the Consolidate and Transcode feature, see Copy, transcode, or archive projects. To export GoPro CineForm footage, the frame width must be evenly divisible by 16 and the frame height by 8.
Dimensions that do not meet these requirements are automatically rounded to a valid value. So, the export dimensions are rounded to x As a result of this change in dimensions, 2.
Therefore, it may be necessary to upscale or downscale the dimensions of your output to conform to industry standard dimensions. For example, with 2. However, on Windows a few limitations exist. On Windows, because QuickTime is not available as a preview file format, GoPro CineForm cannot be used as a video preview codec for smart rendering. The GoPro CineForm codec offers encoding in two different pixel formats and five different compression methods.
The encoded pixel format is based on the color depth and alpha channel settings that you select in the Export Settings dialog in Premiere Pro. The compression quality is controlled by the Quality slider in the Export Settings dialog. For more details about choosing a suitable pixel format and compression quality, see this blog post.
Buy now. GoPro CineForm codec support Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. Applies to: Adobe Premiere Pro. About GoPro CineForm codec. Export media using the GoPro CineForm codec. Click the Video tab to select the codec, frame size, and other basic video settings.
Selecting Render At Maximum Depth renders the frames at bpc or bpc. Archive projects using the GoPro CineForm codec. Tips to work with the GoPro CineForm codec.As a video editor, nothing is worse than choppy playback.
Whether you're racing the clock or just starting out, ain't nobody got time for dropped frames.
Problems Between Apple Final Cut Pro X and GoPro Cineform
Luckily, there are plenty of settings in Premiere Pro that can improve playback performance. Here are 10 tips plus 2 bonus tips! None of them have to do with hardware or system configurations. This post assumes your computer meets the minimum system requirements for Premiere Pro. Also, these tips are not meant to be rigidly applied to all workflows.
They're more like a troubleshooting list. See how they might be used in different stages of your editing workflow. Obviously, if your playhead is stuttering across the Timeline then you know you're dropping frames.
But dropped frames can be more subtle. Premiere Pro has a Dropped Frame Indicator which can be found under the Program monitor settings wrench icon. The green light turns yellow when dropped frames are detected. Now that you're equipped to identify dropped frames, lets look at some ways to prevent them from happening.
The easiest way to improve playback in Premiere Pro is to reduce the Playback Resolution. It's simple logic: the higher the resolution, the harder it is for Premiere Pro to playback. Click the Playback Resolution dropdown in the Program monitor the Source monitor has its own Playback Resolution and select a lower resolution. Did you know you can assign keyboard shortcuts for each of these playback resolutions?
Reducing Playback Resolution only applies to playback; it does not affect your export settings. You can change the Paused Resolution independently so you can see full resolution when the playhead is paused. Paused Resolution is found under the Program and Source monitor settings wrench icons.
Evidently, playback used to have a "slightly softer look" compared to paused even when Playback Resolution was set to full. Toggling on High Quality Playback provides the most pristine viewing experience, but it's more likely to cause dropped frames.
The visual difference of High Quality Playback is pretty negligible; Adobe says turning off High Quality Playback is the best choice for real-time playback. High Quality Playback is also found under the Program monitor settings wrench icon. Proxy workflows in Premiere Pro make it easy for editors to generate proxies, attach existing proxies or reconnect their original footage.
Typically, proxy files are low resolution and have been transcoded to a mezzanine format e. The underlying purpose of a proxy workflow is for better playback performance. If Premiere Pro is choking on 4K h.It is designed for speed and quality, at the expense of a very high compression size.
Image compression is a balance of size, speed and quality, and you can only choose two. CineForm was the first of its type to focus on speed, while supporting higher bit depths for image quality. The full frame wavelet as a subject quality advantage over DCTs, so you can compression more without classic ringing or block artifact issues. Compression ratio: between and are typical, greater ranges are possible.
CineForm is a constant quality design, bit-rates will vary as needed for the scene. Whereas most other intermediate video codecs are a constant bit-rate design, quality varies depending on the scene. Unless you explicitly state otherwise, any contribution intentionally submitted for inclusion in the work by you, as defined in the Apache You will need CMake version 3. WaveletDemo is just three files: wavelets. This tool uses the just build CineForm SDK to compress and decompress a generated image, testing the codec with a range of images and pixel formats.
The CineForm video codec was developed in between and as a light weight compressed alternative for DV or other consumer formats of the time. The codec was ideal for the transition to HD, as its efficiency improved with the resolution increase, a bonus of it being a native Wavelet codec. Once RAW was a compression profile, this is when CineForm stopped being like other codecs, which strive to encode compress and decode decompress to the same or as close as possible to the source image.
CineForm is still the only codec that does this, it was marketed as Active Metadata. Active Metadata was used to enable stereoscopic 3D encoding and presentation, the third significant major feature addition to the codec core first HD, second RAW. There is a fourth wave for the original CineForm, as resolution goes beyond 4K, the benefits of wavelet compression are seen again.
The wavelet used within CineForm is mostly a 2D three-level Wavelet. As that will mean very little to most, the WaveletDemo has been included to help learn the principles.
If you look up wavelets on Wikipedia, prepare to get confused fast. The wavelet is a one dimensional filter that separates low frequency data from high frequency data, and the math is simple. For each two pixels in an image simply add them low frequency :. To wavelet compress a monochrome frame color can be compressed as separate monochrome channelswe start with a 2D array of pixels a.
If you store data with low frequencies low pass on the left and the high frequencies high pass on the right you get the image below. A low pass image is basically the average, and high pass image is like an edge enhance.