So before leaving I set the Handbrake queue to going, and in the morning, I've got bright-shiny Cineform or DNxHD/R files for editing.Īnd I and my computer are both happy campers. I have watchfolders set up in AME, and can simply set the Handbrake queue to plop the converted media in an AME watchfolder, that triggers AME opening and converting that to whatever codec I've got a preset on that folder for. there are times I want an intraframe codec to edit from, rather than a long-GOP interframe like that H.264 stuff Handbrake puts out. They'll be waiting for me next morning.Īlso. I'll set it off as I'm leaving at the end of the day. I'll have several gigs of clips to convert, so. as if you leave the frame-rate to any type of "auto" or "same as source", even with the CFR button checked, you get VFR out. You need to set both the circle to CFR, and select the target speed shot in-camera as a numerical entry. When I just left Handbrake 'alone' after setting the CFR button, it still put out VFR. so when I shoot 4k/30fps/48Mbps media from my phone, what I have to edit with is a 4k/29.976/47.2 Mbps file. preserving the original frame-size, setting the "level" of compression to 4.2, and the 'amount' to near "Placebo", the CFR button checked, and the frame rate set to 30. The working the tests showed that I just get a better, proper editable media when I do a conversion in Handbrake, with a preset I made. the other one (sigh), and testing those against Handbrake. However, I did extensive testing using PrPro, Adobe Media Encoder, and Prelude, trying out the various "flow" modes of Optical, frame-blending, and. Do I use phone media at times? Of course!
Is a lot of media used in pro editing created by "devices" shooting in VFR? Oh, yes, of course. Do I wish that PrPro could handle VFR as well as CFR? Of course.
I've seen some long detailed explanations of why though technically possible to code an NLE to handle both, it becomes at times a less than ideal solution. There is a vast difference in a program as complex as an NLE with all the incredibly coded effects it runs (between handling multiple video and audio 'channels' in cut & pasted fashion with effects both audio & video strewn hither & yon), and a simple video player. And it doesn't seem like it should be, especially when using a high-end product like Adobe Premiere Pro. And guess what? Editing these files is really complex and very difficult. They want to edit them and make them look as good as possible. They have these fairly high quality iPhone files. Also, many people in the world are in my position. iMovie on the iPhone is very limited in its editing capabilities. iMovie really kills the quality of the edited files. I say this because many folks record footage of their kids, families, events, etc. Premiere Pro, being an industry standard, should have a way to deal with the variable framerate files produced by iPhones, since the iPhone is the world's most popular camera. I disagree with folks who say you shouldn't record/edit iPhone videos. Some of the footage that can be obtained is quite incredible coming from a phone. I think Adobe should come out with a clear tutorial with a recommended workflow for iPhone files, at least for the newer phones.
Right now my brain is so full of codecs and export settings that I can't even post something coherent here. working with DSLR files with a constant framerate is MUCH easier.the same exported files that won't play well in WMP often play perfectly in VLC.longer files pose more problems than shorter files.
I'm not sure if the mistake I'm making is in my Handbrake conversion or in my export settings. try exporting with DNxHD and get great results again (the best) but a MASSIVE file size about 50 times bigger than h.264.try exporting with "match sequence settings" checked (MPEG I-Frame codec) and that produces a pretty good result but a huge file size (5 times bigger than h.264).import into Premiere then export with h.264 (match source so everything is right) - terrible results again!.