Rendering a single file from the DPX Sequence color provided and the final audio mix sound provided should have an extremely low chance of failure. Remember, a 90-minute film exported in 6k will be around 8TB so make sure you have space.ĭPX does not export audio so you will want to export an AAF to send to your post-audio team.Ĭreating the “Texas Master” – Where final color and audio mergeĬongrats! Creating the initial master for color grading is the most time-consuming part of the export with the highest chance of failure. With DPX, you will want to choose the “Full Range (Match Source)” preset and hit render! If an export fails, simply go to the export folder, find the last frame it successfully rendered and continue the process from there. Additionally, these are 100% lossless with absolutely zero compression which makes them perfect for sending to color. If your export fails, all frames prior are completely safe and you can restart the render. Why? a DPX sequence is just a bunch of sequentially numbered images in a folder. This is why I recommend DPX Sequences as your master for almost all circumstances.ĭPX is the best way to export complicated projects with a high chance of export failures. Reel workflows are great if you a limited on storage and might not have the fastest machine but they certainly add a host of complications. Ensure that you have a master sequence with all reels and audio tracks for your post-sound team.Align each reel within a master sequence.Ensure your reels are timecode sequential before export.Organize where you want to start/finish your reels before editing.Reels add a significant amount of other complications such as ensuring there are no crazy edits between reels, keeping your audio in sync, and ensuring your timecode is sequential between reels (no restarting). There are considerations to be made, however. Even better, if you have multiple computers connected to a shared storage server ( like a NAS), each computer can render out a reel simultaneously thereby saving a boatload of time. Additionally, restarting a 45-minute sequence is a lot less painful than restarting a 2.5hr sequence. With the reel method, only that particular reel would have failed and you would still have your other reels that were completed successfully. If we were to render the entire project from start to finish and an error occurred toward the end of the project, all the hours spent rendering the frames before would be completely lost. Though this might sound like additional steps and storage space, this is one of the better ways to export your project. However, you will be able to break that master file into chunks called “reels.” A project can be broken down into 2-6 Reels (averaging 30-45min each) and exported individually only to be brought back into Premiere, combined with final audio, and then re-exported as a deliverable. Your master file will be in hundreds of gigabytes. Okay, but the real question is, “How do you create the master?”īig projects mean large file sizes. You simply drag and drop the master file into Adobe Media Encoder and choose what deliverable codec you want. When working with a master file, there are no adjustment layers, no lumetri grades, no effects, no text layers, no REDcode, and nothing to complicate (or corrupt) the render process. Simple, the chance of something going wrong is significantly less. Avid DNxHR 444 is equivalent to ProRes 4444 in pretty much every way but I prefer ProRes as it is more widely used in Premiere/Resolve/FCPX workflows. For this guide, we will be focusing on Apple ProRes and DPX. One of these three codecs is what you need to use to render your “master file.” This master file can then be re-rendered into a deliverable codec such as h.264, h.265, or DCP with zero noticeable quality loss. These codecs, also known as “finishing” codecs, include DPX Sequence, Avid DNxHR 444, and Apple ProRes 4444. However, other codecs were developed specifically for multiple rendering passes. Re-rendering an h.264 file multiple times will result in noticeable quality loss. Re-rendering files result in quality loss correct? Mmm… not quite. Now, this is an ostensibly counter-intuitive point. Today we are going to look at a couple of ways to prevent export failures from slowing down your delivery and enabling you to meet those tight deadlines.ĭon’t render your deliverables from the source footage. But what if… you could render it out in sections… or even in individual frames? Say hello to intermediate codecs and reels. Everything that was successfully rendered is gone and you have to start again. Nothing is better than spending 2+ hrs exporting a 90-minute video to have it fail right before the finish line. Creating the “Texas Master” – Where final color and audio mergeĮxporting….Creating the master – Apple ProRes 4444.Don’t render your deliverables from the source footage.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |