I ran this same test again using Compressor and Adobe Media Encoder and had the exact same results. So I went back to FCP X and did an output using the exact same settings and there was absolutely no question that the FCP X output looked far better. I even went back and re-exported the file to make sure that all my settings were in place – including checking off ‘Use Maximum Render Quality’, but still I had the same poor results. It was blocky, over compressed, and even the colors seemed a bit off. On a recent project of mine though, I noticed that when using my standard H.264 settings in Adobe Premiere Pro the result of the final product didn’t look quite right. This was especially true up until one of the more recent FCP X updates which seemed to have improved the render and output performance noticeably… But nonetheless because of this difference in speed I got into a habit of compressing my long format video files with Premiere or Adobe Media Encoder (even if I was cutting in FCP X), simply because it was faster. While my preference for straight up editing has largely leaned towards FCP X, I also use Premiere Pro all the time which led me to notice that exports from Premiere Pro generally seemed to be faster than exports from FCP X. Like many filmmakers today, I use a number of different NLE’s and post tools on a daily basis as every project has different needs and requirements. There have been certain settings that have worked really well for me over the years with regards to H.264 compression, but it wasn’t until this year that I noticed a staggering difference in the final quality of the files that I would output from Premiere Pro as opposed to FCP X. Please elaborate on what you want to do.I’ve always been really picky when it comes to compressing my video files (especially for web), because the image quality of the final product can be made or broken at this stage. The clip exported from the bottom could then be used as a "mask" layer to combine two other video clips using that mask clip as a guide. With the lower example, that would just be a 24-bit image, no alpha - the black and white areas represent transparent and opaque parts of the clip. In the top example, if you Export from the timeline and choose a 32-bit codec (with alpha) for the export, then the alpha channel is included - the black area will be transparent. Key out the background of the clip, then change setting from "Composite" to "Alpha" and then Export. Changing to Alpha mode shows the black and white alpha in Program, however exporting still exports the original image! In my mind, the Export should export what I am seeing in the Program monitor window, and not something else.Īnyway, if you are using the Ultra Keyer in Premiere CC, then you CAN Export the alpha, see attached pic. With CC, that is no longer the case from what I can tell. With older versions of Premiere such as CS6, one could change the Program Monitor settings from Composite to Alpha, then Export the alpha (black/white) video. Can you maybe explain a bit more about the workflow, what you wish to accomplish? When you say "just alpha", can I assume you mean a black and white image representing transparent and opaque areas? Which can be used as a "mask" later in a keying operation of some sort?
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |