- #ADOBE MEDIA ENCODER CC DEINTERLACE FILTER UPGRADE#
- #ADOBE MEDIA ENCODER CC DEINTERLACE FILTER FULL#
- #ADOBE MEDIA ENCODER CC DEINTERLACE FILTER WINDOWS#
The only reason QT is used is because Maker was having issues outputting from UC AVI to UC AVI and was giving me some strange color changes which I didn't like.
#ADOBE MEDIA ENCODER CC DEINTERLACE FILTER FULL#
This is full frame 4:4:4 RGB data, like a sequence of BMP files. First, going back and forth between AVI and QT loses no quality as long as you use UC formats, in this case UC AVI and QuickTime with None compressor. I have a feature to edit, and due to the time involved in deartifacting and storage involved with uncompressed (UC) formats, I may have to alter this a bit.
I still use the workflow for short films. The sequence and formats are designed to maintain maximum quality at every step. The workflow you reference is from a post of mine. The weakest link in your flow is probably TMPGenc. The only exception is when you want to use some plug-in that uses fields in its calculation. Especially if you plan to crop, rotate or change the speed of the clip. :)Ī general tip is to always use 16-bit processing if you have that option.Īlways deinterlace first, before doing anything else.
#ADOBE MEDIA ENCODER CC DEINTERLACE FILTER WINDOWS#
The codecs I use are HuffYUV or MSU Lossless Codec depending on what mood my Windows is in at the moment. I then color correct the processed clips seperately (this is kind of an answer to question 3). This way I can always go back to the unprocessed clip and export it again, if I decide to change an edit (eg a clip is too short). In Premiere I make a new track with the processed clips placed exactly above the unprocessed clips. When I'm satisfied with the editiing I export clip by clip uncompressed and process them in After Effects/VirtualDub/Vegas, then uncompressed back to Premiere. To put it another way, for me EDIT and POST isn't the same thing. This is also good because otherwise I tend to get stuck on details when i comes to color-correcting for example. When I'm totally satisfied with the edit, then I start to color correct, deinterlace etc. However, I always edit the whole thing first without any filters, cropping, motion, speed-changes etc. The workflow is similar to mine when working on the pc.
If I export at any time during this process, won't all my clips merge together? So how would I color correct each clip differently? So, if I deinterlace and deartifact within the Adobe line (without exporting), won't that keep my clips separate, so I can color correct each one independently? Or should I color correct first, then deartifact and deinterlace? As for the color correction step.I have to color correct many different clips, shot months apart, but now sit next to each other on the time line. Did the new version of MB become better than DV filmmaker's ability to deinterlace? I suppose this is subjective, but if I have to export from AE to deinterlace with DV filmmaker won't that export cause a slight loss in quality? Wouldn't it be better to also deinterlace with MB to avoid that?ģ. I can just hop over to AE and do the deartifact, correct?Ģ. I'm assuming with Adobe's Dynamic Link that I don't have to export from Premiere to use Magic Bullet. Finalize (opticals, letterbox, broadcast spec) with MagicBullet (to uncompressed AVI)ġ. Color-correct in AfterEffects (to uncompressed AVI)Ħ. DeINTERLACE with DVFilm Maker (to uncompressed QT)ĥ.
DeARTIFACT with Magic Bullet (to uncompressed AVI)Ĥ. Basic rough edit to remove bad takes in Premiere (to DV-AVI)ģ. I'm also about to buy Magic Bullet (and maybe DVfilmmaker) and have a question on this workflow in another post, which is:Ģ.
#ADOBE MEDIA ENCODER CC DEINTERLACE FILTER UPGRADE#
I just finished my first short film and am about to upgrade to the new Adobe Production Studio that will allow me to move back and forth from Premiere to AE without exporting and thus saving the slight loss of quality.
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