What's Inside Premiere Pro?
creig...@adobeforums.com
1. Which renders faster: A clip with a standard dissolve transition placed at its start and end, or the same clip with opacity keyframes to accomplish the same effect, fading up, then fading out?
2. The Adobe Media Encoder is used when you export to the Adobe Encoder.
Duh. Is it also used when you export directly to DVD?
3. When you import a sequence into another one, it has to re-render the incoming project. OK. Damn, but OK.
Now, if one or more of the clips for the imported sequence has the same name as a clip in the current sequence will there be a problem? What if it's a clip that is actually part of the main sequence, but is just being referenced by the imported sequence? Is it brought in again?
4. Put a 2000x2000 still picture on the timeline, then use motion controls to zoom in and pan around a bit. Save the project and close PPro. Replace
the picture file in the directory, with a another picture (1280x960) but with the same file name. What will happen when I reopen PPro? Will it find the correct file? (Yes, by default) Will it move the picture as defined for its larger predecessor? Will it crash, if the movement (or any other keyframed effect) takes PPro outside of "legal" bounds? What if the replacing picture is larger?
5. Encoding at 7 mbits, one pass, versus 4 mbits, one pass (two of the PPro presets), and at a medium (3) quality setting:
Which will finish faster? For material length less than 30 minutes (easily fitting on a standard DVD), is there a visual, obvious difference in quality(assuming negligible movement), between these two presets?
6. What exactly does "optimize stills" do? And why is it deemed necessary by some posters, while others swear against it?
7. For stills (or any clip) that fall outside the 0-100 IRE limit, what are the implications for display, in a NON-broadcast environment? Can it cause disruption to the program? Can it harm the player, or any of the other elements in the system. Can it cause similar kind of problems as letting the sound climb over the 0 db limit(or -12 db as Steven advises) ?
I had a few more, but I'll wait. I'm not one to tax the mentors...
Keep smiling
jhalexj
1. The first one renders faster. You can prove that only with a slower machine (P3). With a P4, it doesn't really matter. Unless your rendering a 10minute dissolve.
2. Premiere is using the same MPEG codec for the MPEG output either from Media Encoder or export to DVD. DVD is actually Mpeg2.
3. Premiere will have no problem with sam-name clips inside the Project Window. Premiere will not reimport it again coz it knows the one it has imported before is the same as the one you just imported (your sequence, unless you actually changed the original source file. Premiere never touches the original source filesbut only creates references.
4. Premiere will remember the file as having a 2000x2000 pixel. Your clip will behave diffrently as the applied motiom effect will remember the setting for the 2000x2000 clip.
5. The render to 7mbits one pass will render faster because the codec has to compress less data to mpeg. Yes there is a visual difference unless your footage are bad. To look at it in detail, try rendering a 1sec clip of each setting and export a frame. Open the frames in Photoshop and you'll see the difference.
6. Say you have an hour of video all from several still pictures. By checking Optimize stills, Premiere will use the first rendered segment of a still picture over and over again for all the times the picture is used in the timeline. If you uncheck it, Premiere will recompress the rendered pictures again and again.
7. No clip or any footage outside the broadcast limit will harm any broadcast equipment, players, or disrupt any program. It can hurt your eyes though as blasting can hurt your ears. It can also hurt your ego once they blame you for poor video results.
creig...@adobeforums.com
Thank you for the comprehensive and timely reply. I've been on an intense project and had not the time to stop and test these things myself. Deadlines have a way of doing that...
A couple of comments.
1. I actually meant "Which one compresses faster(during the export to AME or DVD)", as opposed to render, but the answer is probably the same.
None-the-less, using the FE dissolve is faster to place and adjust, so that's the one.
2, 3, 4, 5 and 7. OK. I can use this info...
6. I understand your answer. Does it still apply if the still is being moved or zoomed(in or out), by keyframes or standard effects? I know PPro only needs the pixels that will fit the project's frame size.
Does it compress the entire image, then cut the frame size it needs from there. This would follow logically from the optimize command, as it would only need to compress the image once, then pull sub-sets for the various motions. OR, does it optimize only static stills(not changed over time(line) by motion/opacity/zoom effects)?
Actually, thinking about this, I've answered the question myself: It must ignore optimize if the image size/shape/color changes(because the pixels will be different). It might still use the optimize setting, if the orientation (rotation/motion) is the only thing that changes. Sound about right?
Thanks and keep smiling.