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Specialists in video-engineering?. Looking for something more local? Here are some localized subreddits:. TL;DR I cannot get Premiere Pro to export a H264 23.97fps MOV as a XDCAM HD 50 422 29.97fps MXF without distorting my audio. What do I have to do to get my audio from the clip to match the new 29.97fps footage!?

Edit: My major issue, Problems A, B, and C have been answered! Problem D could still use answers though. Hey I just found this sub and hopefully someone can see what I'm missing.

Boy is my green ever showing today. I've been trying to solve this for about three days now and I think I'm missing a huge chunk of knowledge somewhere. I appreciate any help. I'm editing with Compressor, PluralEyes, Adobe Premiere Pro CC, After Effects CC, and Audition CC. My machine is an iMac with a 2.7 GHz Intel Core i5, 16 GB RAM, and an AMD Radeon HD 6770M 512 MB card.

My partners and I have shot three episodes of a television show. We used several cameras, but to keep it simple lets focus on the 5D MKII as it's our primary capture device. Format: MOV. Codec: H.264. Color Space: 4:2:0 (.right?). 1920x1080.

23.976 fps. Field: Progressive We have audio from a secondary capture device but lets gloss over that for a second. Here is the problem. We just got the production guidelines and they want all files to be turned in as the following 'house format.' . Format: MXF Op1a.

Codec: XDCAM HD 50 (4:2:2) or other H264/MPEG2 codec at 50 Mb/s. Color Space: 4:2:2. 1920x1080. 29.97 fps. Field Order: Upper First. Aspect: Square Pixels (1.0). Depth: 24 bit Audio.

Audio Codec: Uncompressed. Sample Rate: 48kHz. Channels: 4 Channel. Sample Size: 16 Bit Problem A: How do I change frame rate without sacrificing audio in the clip? Wrong Solution #1. Premiere Pro works with native H.264's fine so I don't compress my footage.

When I export my timeline from PPro to house format but leave everything as 23.97fps the result is a perfectly functioning MXF that VLC can play. From what I've read, the network shouldn't have any problem accepting this but I would rather over turn every stone before I contact the network manager of operations asking him to make an exception for me. In short: this isn't the right solution. (If it is let me know.) EDIT: Correct Solution: Create new 29.97fps sequence in PPro.

Drop 23.97fps into timeline and export away as 29.97fps MXF. This results in terrible interlacing bars and accelerated audio.

(I'm pretty sure there is this magical thing called a 2:3 pulldown within this solution that I have a 3 year old's understanding of so I'm just going to leave this here: A B BC CD D, Right? Is PPro doing that for me? Someone unlock this box for me, please!) Edit: Charlow mentioned below that VLC isn't used for Quality Control, and if Premiere can play this back it's probably OK.

Xdcam Hd 422 Codec Premiere Cs6 Pro

Sure enough, Premiere delivers. My first export in this fashion turns out to be a functioning MXF. The problem is more likely in VLC. I've tried exporting just the audio into a WAV and then putting that into the new 29.97 sequence.

I've tried time stretching without changing the pitch. No matter what, when I try to export into house format my audio is too fast. This has been driving me insane. Can someone please share their workflow for matching scratch audio from a 23.97fps clip to a interpreted 29.97fps counterpart because I'm clearly doing something wrong. Wrong Solution #3: Interpret footage to 29.97fps within PPro and create a new sequence based on these settings.

The exported house format video has some motion issues that I can finesse but at least it is 29.97fps. However, upon exporting, the audio from the clip has now been accelerated when I watch the MXF in VLC. Wrong Solution 4#: Compress H.264's into Apple ProRes 422. Compressor Drop in new file Right Click New Target with Settings Apple Formats Quicktime ProRes 422 HQ Within Compressor's Inspector window:. Encoder Tab Video (Settings.) Change frame rate to 29.97 Check interlaced box Set to Top First Ok.

Frame Controls Tab Set to On Set output to Top Deinterlace: Fast Adaptive Details: checked Rate Conversion: Fast Set Duration: 100.00%. Geometry Tab Dimensions Set Dropdown to 1920x1080 Square Pixels In Premiere Pro I check the new ProRes 422 file's info and it says 29.97fps. I use that file to create a new sequence and as always, PPro plays it all back fine. After it's done exporting I open the MXF in VLC and my audio is too fast again.

Wrong Solution #5: Compress H.264's into MXF DXCAM 422 Right Click New Target with Settings Custom MXF MXF29.97fps 1080i 29.97 XDCAM HD 422 50MBps. Encoder Tab Options 29.97fps Audio Channels: 4. Frame Controls On Resize: Better Output: Top Deinterlace: Fast Check Adaptive Detail Set Duration: 100.00% This new sequence produces the exact same result as exporting the Pro Res 422 sequence from PPro into the house format. Wrong Solution #6 plug-in for after effects and/or AE's built in frame blending.

This will be great to clean up my 2:3 pull down but it doesn't help my audio problem. Pending Solution #7: Getting back to our secondary audio source. My problem up to this point has been the fact that my scratch audio is being destroyed. This isn't the end of the world as we have a sound engineer on set.

Xdcam Hd 422 Codec Premiere Cs6 Free

Now, I'm admittedly naive when it comes to sound engineering. I know my engineer 'set the audio to 23.97 fps,' although I'm not sure exactly how to say that clearly. (If anyone knows where to point me that would be excellent reading I'm sure.) Anyway, what I'm doing as I type is taking a bunch of the H.264's, encoding them into Pro Res 422 through compressor, and then I'm going to take those Pro Res 422's and my sound engineers WAV's and run them through PluralEyes.

There are still a few hours of encoding left, but hopefully this will solve everything. I foresee sync drift problems but I don't know enough about audio to tell if being labled as 23.97 actually means anything, as it's sample rate is really the only defining metric of audio (.again. I think.) or how to change that label. If this works I'm ok if my scratch audio is doomed but I'm certainly not happy about it. Problem B: 29.97fps footage isn't working either! I shot some test 29.97fps footage.

In PPro I used it to create a new sequence. I then exported into house format and to my surprise my audio is destroyed again. However, this time the tempo and pitch aren't off, just the timing. The audio is suddenly 5-6 frames ahead of the clip; resulting in none of the sound from the beginning of the clip being heard and the clip going silent before VLC is finished playing it. This is the pull-hair-out-of-my-head point where reading all the forums in the world isn't doing me any damn bit of good. Problem C: What other codec could I use?

I don't know what codec I could encode this into within the MXF wrapper that would still work. DVCProHD, AVC Intra, HDCam Maybe? I haven't explored this at all yet. Problem D: How do I make sure my color bars are actually relevant to my program?

I know PPro has HD/SD color bars and tone but does that work for me? Is there a SMPTE countdown clock animation I can download somewhere? Someone please help me off I'm editing this intensely so if some poor soul finds this page in quest for answers it's catalogued. Edit 12:15am 1/23 Well. Brenton07 just solved my issue. I downloaded, (Careful; auto-download), duplicated a random clip and turned that into a 29.97fps H.264. I then imported that new file into PPro, used it to create a new sequence, and exported into house format.

Sure enough VLC played it like nothing. Now to learn how to batch change.

Edit 12:39am 1/23 Charlow has me believing the issue is with VLC. I just opened a new sequence from the very first 29.97 MFX I exported a few days ago and Premiere played it without issue. Lessons learned:. VLC is such a good media player that I have taken it for granted. That bit me in the ass with lost productivity the past few days. Premiere is the Marshawn Lynch of NLE's. Give footage; get codec.

Try taking your 23.98 footage and using mpegstreamclip and manually setting the frame rate to 29.97 (alternately try the recompress all frames option if that doesn't work) - that free software has done weirder things for me before. I can't remember if it can output an mxf for you, but at worst if you can get a functioning 29.97 file you can run it through premier as a 'native 29.97' sequence. You can set in and out points using 'I' and 'O' so you don't have to do a huge export, just long enough to look for sync drift. Here are a few considerations for the future:. Keep your deliverable in mind before you start shooting.

Shooting at 30i (the deliverable) would have simplified your workflow quite a bit. HDSLRs rarely shoot interlaced, but 30p could have made things easier as well. Cinematographers sometimes get fired up about 24p, but make sure there's a good creative reason to not shoot at the deliverable.

VLC is a good player for consumer formats, but for professional formats it isn't always the best. I rely on Quicktime Pro 7 for the most part. For XDCAM deliverables I look to XDCAM Browser. It's a free utility from Sony that was recommended by the first network I made an XDCAM delivery to. It has never let me down for MXF/XDCAM deliveries. If it opens in Browser and shows the correct settings you're good to go. Ensure you're using the correct audio sample rate.

The audio sample rate should be the deliverable rate. While the working frame rate can be different (as in your situation editing in 24 was probably the right choice) the audio sample rate should be right to begin with. If your sequence is at 44.1kHz that would explain a lot of your audio issues. My preferred workflow would be to export a ProRes or DNxHD master of the programming at 1920x1080, 23.976fps, 48kHz, 24 bit. That's the best quality copy of the edit you're going to get. Once you have that build your MXF off of that copy.

If you run into problems you aren't re-exporting the video (slow) you're transcoding the video (fast). Bonus: if you're exporting other copies for SD downconversion, web, etc. It's a fast conversion, not a slow export. There's merit to doing a re-export, but if you're in a grind like this having a hard time churning the project out having a reliable master as a starting point can save a lot of time. Adobe Media Encoder.

If you're in the Adobe world it's your friend. Take your master into Media Encoder, pick MXF OP1a, XDCAM HD422, dial in the last couple settings to meet your spec and then let it do its thing. Media Encoder is smart enough to add a pulldown for you when needed. Next time give AME a try. You can easily check for a proper pulldown cadence by going frame-by-frame. You should see three 'progressive' frames followed by two 'interlaced' frames, rinse and repeat.

The exception is the first set which will be two progressive, two interlaced, then the pattern takes hold. This is the best look for 24p in 30i, and now many TVs are smart enough to see the pulldown, remove it, and display true 24. Avoid H.264 in broadcast workflows. If the camera captures H.264 it's fine to leave that, but for any step past the camera original go with a higher quality codec like DNxHD or ProRes. If it's an asset with an alpha (transparency) channel like a lower 3rd or a wipe you can add Quicktime/Animation to the list. Problem A:. If you're doing a transcode you shouldn't be seeing audio problems.

Xdcam Hd 422 Codec Premiere Cs6 Torrent

If you're doing a conform the audio pitch may change. Best practices change based on what kind of conversion you're doing but in general Media Encoder will handle things properly. If other programs are giving you trouble try AME. Problem B:. Are you mixing drop 30 with non-drop 30? (Straight 30.00 with broadcast 29.97) If you're going to be doing more broadcast work it's good to be aware of 'drop frames.' .

I think you nailed this one down to VLC. Check it in XDCAM Browser. Problem C:. Stick to the preferred house codec. If you're using their format they guarantee that your content will look correct. When you break their workflow you run the risk of failing QC.

They mention that H264/MPEG2 codec at 50 Mb/s are accepted. If you wanted to go a different route H.264 won't go into MXF, and I don't believe MPEG2 goes into MXF either. (Note: XDCAM is an MPEG2 variant, so MPEG2 going into MXF as XDCAM is valid, but otherwise I don't believe it does.) If you were go look into the H.264 route you would need to ask them how they can accept H.264 files. You'll probably find they can accept it in.mp4 and.mov, but they will most likely just transcode it to XDCAM/MXF on their end and then ingest the MXF file their playout severs are looking for. Problem D:. Bars and Tone — use Premiere's generators. Downloads make things less certain as you don't know what color space the exported clip was in, if web compression changed some values, etc.

Bars generated by Premiere will be the most reliable option. Sometimes people put a slate over bars, sometimes people have bars then a slate after. I lean towards after.

The bars are for calibration and I get frustrated when I'm checking something on a scope and there's a lot of unnecessary mess. Follow the delivery sheet.

If the want 10 seconds of bars then a slate give them 10 seconds then a slate. If they want a slate over bars give them a slate over bars. Do pay attention to the audio level for the bars. Spec can vary.

Hope this helps in the future. It's great to have a delivery that isn't H.264, but it's also a new world.

I received these specifications from a client for a commercial that will be broadcast for TV. This is my first outing working with an interlaced video and specialized video formats / codecs etc. I am not able to speak with the TV vendor beforehand to make sure I am using the correct formats before uploading to their server. So, I need to be 100% sure I am exporting the correct type of video. I am using Adobe PPro for this project.

Questions:. Looking at how I built my project and exported my video does everything look like it's matching the Vendor specs. Do I need to use Frame Blending on the final exported video. Why when I view the exported interlaced video do I not see the interlacing.

Duration - The TV spot is for:30secs my duration is 30:01. I added one extra frame so the end screen isn't blank (contains the call to action and logo) at the end. Vendor Specifications:. All High Definition content MUST be 1080i (59.94) format. All High Definition content should be 4:3 center-cut safe. Video Format: 1080i, 29.9 frames/sec (59.94 fields/sec) HD File Format(s).

File Format: XDCAM HD422: 4:2:2, at 50 Mbps MXF (OP1A, self contained). Video Codec: MPEG-2 Long GOP, Sony XDCAM compliant.

Field Order: Upper Field first. Audio Format: 48 KHz sample rate, uncompressed. Operating Level: Peak program levels at -12 to -8dBfs, nominal -10dBfs In PPro these are the settings I used to create my timeline / sequence. File-New-Sequence-XDCAM HD422-1080i-XDCAM HD422 1080i30 (60) Assets / Raw Footage added to project Mixture of video and images( jpgs, pngs). Hooking your laptop up to your TV likely won't get you in to the right mode that would show interlacing. A vectorscope won't help with interlacing artifacts, only gamut errors. Even those are hard to figure out from a vectorscope as opposed to using a specialized vectorscope display like Tektronix's split diamond.

Interlacing artifacts are generally caused by fast motion with an incorrect field order. Your field order looks correct, so I wouldn't worry about it unless the station reports something on QC. – Sep 24 '16 at 22:35.