oh dear...

[fredjeang]

Hi,
Video is great, more I think I know, more I know I do not know anything...

Great, and messy.

I did some export testings with a peice of fast moving subject. The original footage from the 5D MK2 is all right. In Premiere, everything works all right. A nice sunny day, mood was all right until I decided to explore the exporting with new settings I never tried and the day turned into nightmare.
I have gohsting in all my files exporting to AVI with Canopus lossless codec when objects move fast but of course not in the original neither in Premiere.

What I tried this time was changing the export fps. The original is 23,9ish and the output was 25. Could that slightly difference enough to create gohst images?

If so, is there a way to solve that without having to change the original project settings? Because that would mean 1 project for one speed?

Also, the same export from 2 different encoders (exactly the same settings) is NOT the same. In a case, a MPEG2 using Adobe is pretty crap while using Procoder is much better for a more or less the same file weight.

Video is great, but on the exporting stage it's a nightmare.

[Christopher Sanderson]

What I would suggest is that you not change the export fps. This caused the ghosting; you are asking the software to create new frames from the original.

The simple solution is to export at the original 23.95 fps but then *playback* at 25 fps. Yes, the original will be speeded up by one frame every second - which is hardly noticeable - but more importantly, the integrity of each frame is preserved.

[fredjeang]

Yes, I confirm that this comes from the speed. I just did the same settings with the original speed and the goshting disappeared.

But I do not catch your answer very well, sorry.
At what stage do you play it back at 25?

(also, 25 being a standard in the industry, I wonder why some camera makers do not propose that speed.)

[Christopher Sanderson]

You need to either 'trick' the media player into thinking that the final clip is 25 fps by changing the metadata or re-create a clip at 25 fps.

To do that, Export a completed clip at the original 23.9 fps. Open that exported file in say QuickTime or MPEG StreamClip; then Export at exactly the same settings changing only the fps; same codec, same size etc. This should create a clean frame adjusted file of the correct speed & length. I just tried this in QuickTime and it works well. All it does is duplicate a single frame every second...

C

[fredjeang]

Thanks very much Chris. Yes, your last solution is exactly what I was looking for.
Ahh...what would I do without you!

Cheers.

Ps: maybe that would also explains the differences I saw between 2 encoders. Maybe one just duplicate a frame (wich results cleaner) while the other (Premiere) invent the missing frame.

[Christopher Sanderson]

Software can be dumb... The simple principle is to figure out a way of doing the fewest things to a video file at a time. If you try to re-encode and make a speed change in the same export operation, the poor software gets a bit confused...

So always export a finished file from your NLE at the Timeline's settings. Then if that looks good, make any necessary adjustments to the exported file. BTW this method, although apparently more steps, often saves a lot of rendering time!

I aways save and archive a Final Intermediate (self-contained not reference) out of a finished edit. I then encode all the various different sized files and codecs from that Final Intermediate.

[fredjeang]

You're absolutly right. After this experience, the time saved doing that step is not lost time at all.
I also came to the same solution after you lighted the OP issue, I now save an archive from the finished edit that serves the various encondings. This is indeed the best approach.

I also checked that, with the same idea, and curiously about time management, the live editing within Premiere and After Effect is not as good as when used separate and from a final intermediate. Yes, one step more but cleaner and avoid many problems.

You also point a very important truth: NLE softwares are working perfectly with planned task and one by one. In that sense it is all a different way of work than stills. I could resume saying that video needs much more common sense and organisation, I think that should not be too wrong.

Thank you for the precious help

[Morgan_Moore]

If you use FCP you can use

"Conform using Cinema Tools"

Cinema tools - batch conform

this just changes the meta data meaning no lenghtly re-write of the file

S