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Author Topic: Codec video: exporting clips on Premiere Pro (Windows 10)  (Read 1302 times)

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« on: April 08, 2018, 11:18 »
0
Hi there!
I'm new here and in the world of stock footage too.
Just started to record the first clips, and the first problem came out.
When I try to export my clips via Premiere, there's no "Photo Jpeg" in the codec video's list, and a lot of other codecs are missing.
So I install and run Quicktime (running my Asus Vivobook as administrator), but still no Photo Jpeg on the list.
I don't know what to do,
maybe downgrading to Windows 8 is the answer?
Or trying to install Quicktime in other ways can be the solution?
I ask to your experience.

Roberto


« Reply #1 on: April 08, 2018, 11:32 »
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That's a good question Roberto. Actually I've been using photo jpeg .mov's for about 8 years but I'm now considering alternative codecs.

What are we submitting nowadays? h264?

« Reply #2 on: April 08, 2018, 11:42 »
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Yes, MP4 is the same right?
Later I will post some screenshots of what happens when I try to find Photo Jpeg. Do you have Windows 10?

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« Reply #3 on: April 08, 2018, 16:55 »
0
I just noticed that my own copy of Premiere Pro has just been updated and no longer includes the PhotoJpeg codec. I was looking at the various requirement pages for the stock video agencies. I submit to SS, Adobe, Pond5, Storyblocks and iStock, and it appears that Adobe is the most restrictive in their requirements:
Quote
Video compression (codecs) accepted
If you are processing your footage, use these codecs:
4K/UHD: ProRes HQ 422, DNxHD/HR
HD: ProRes HQ422, DNxHD/HR
We accept the following codecs only if they are camera-native (unprocessed). Do not transcode to any of these formats: XDCAM, DVCProHD, AVCHD, or H.264.

Funny that they don't even mention Photo Jpeg even though they have been accepting it. ProRes is out for a Windows machine (I think) and the Avid codec DNxHD doesn't seem to be accepted by Shutterstock.

I'm sure the workaround of exporting an uncompressed copy from Premiere and then re-encoding to PhotoJpeg in MpegStreamclip would work, but I'm sure Adobe will soon stop accepting that codec.

Looks like more research is needed!

Steve

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« Reply #4 on: April 09, 2018, 20:18 »
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Does anyone else see the lack of Photo Jpeg in Premiere? Want to confirm it isn't just me

Steve

« Reply #5 on: April 10, 2018, 01:38 »
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In Premiere Pro CC Version 12.1.0 (Build 186) there is no option to export Photo JPEG.
Quick Time is there but apart from DV, DVCPRO, or uncompressed
we are only left in windows with DNx/HD.

Maybe someone has already checked if this is also the case and in After Effects.

helpx.adobe says they have dropped support. Have a look at
"Dropped support for Quicktime 7 era formats and codecs" https://helpx.adobe.com/x-productkb/multi/quicktime7-support-dropped.html
and "Supported file formats" https://helpx.adobe.com/premiere-pro/using/supported-file-formats.html

So, do we ask all agencies to accept DNx/HD? File sizes are almost the same with Quicktime and you can export 10-bit.
« Last Edit: April 10, 2018, 11:40 by bestravelvideo »

« Reply #6 on: April 10, 2018, 01:56 »
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Adobe, Pond5 and Storyblocks (according to their help pages) already accept DNx/HD.

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« Reply #7 on: April 10, 2018, 08:26 »
0
I emailed support at Shutterstock asking if they would take DNx and they, of course, simply copied in their existing list of codecs with no comment on the question I asked.

So DNX would appear to work for all sites except Shutterstock

Steve

« Reply #8 on: April 10, 2018, 08:30 »
0
I emailed support at Shutterstock asking if they would take DNx and they, of course, simply copied in their existing list of codecs with no comment on the question I asked.

So DNX would appear to work for all sites except Shutterstock

Steve
Just my case! I did the same today but still waiting for an email answer.

Στάλθηκε από το SM-G950F μου χρησιμοποιώντας Tapatalk


« Reply #9 on: April 10, 2018, 11:05 »
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I just got the same preset answer, with no mention about any other codec.

Does this mean we should submit for example UHD H264 at 240 Mbps maximum bitratre to Shutterstock and DNx to other agencies?

If yes, are we willing to:
take the time to export two different files of the same content,
wait double the time to upload,
take double the space to backup
pay more to keep a copy at an online cloud drive?

We are just trying to export with better quality, why should it be so complicated?

Maybe a temporal solution for windows users is to resist upgrading to the latest CC.

Then again as a professional TV video editor in Europe, I welcome in the latest edition the ease of say, the new color match with face detection!
It works fast with skin tones but that is no use for me if can only export at a lower quality for stock.

At work anyway I will keep on using MXF.
« Last Edit: April 10, 2018, 11:53 by bestravelvideo »

« Reply #10 on: April 10, 2018, 11:15 »
0
take double the space to backup
pay more to keep a copy at an online cloud drive?

Why would you have to keep extra backup copies of the more compressed files? That makes no sense.

I do agree the rest seems like a hassle, but it won't waste more storage space.

« Reply #11 on: April 10, 2018, 11:25 »
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Well, for me anyway, if I apply warp and/or noise reduction it's faster to recall the ready file for another or new agency than having to restore the project and wait to export again. I guess noone keeps all videos to the working Pc or Mac. Just how I feel, others only keep the original, or have a simpler approach. I decided I prefer to pay even for an online backup than lose something. That way, even when abroad, I can recall all files on the spot using Multcloud and transfer them really fast at every FTP I wish. I only upload once and then just hit copy any times I want from the already uploaded file.

« Reply #12 on: April 10, 2018, 11:36 »
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Just want to add to the different approach:

At work with a server we use for backup/restore Terabyte Data Cartridjes so I only need to keep the .prproj file for the project and I am ok after restore.
At home this would take more time due to different backup method, without the benefit of direct online use.

I wish I had 6.25 TB Data Cartridges at home!
« Last Edit: April 10, 2018, 11:58 by bestravelvideo »

« Reply #13 on: April 11, 2018, 01:15 »
0
Well, for me anyway, if I apply warp and/or noise reduction it's faster to recall the ready file for another or new agency than having to restore the project and wait to export again.

Yes, of course you keep a backup of the finished file. But only ONE backup of the least compressed version (DNx in this case). You don't need a backup of the h264, especially if Shutterstock is the only site you upload that too. If ever you should need a more compressed file, you take 5 seconds and compress the DNx.

So, no more space wasted compared to if Shutterstock accepted DNx. That's what I meant.

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« Reply #14 on: April 11, 2018, 08:44 »
0
This codec issue is getting one step worse. I just tried to export one of my 4K masterpieces ready for upload and chose the Avid DNxHD/HR codecs in Premiere. The only ones that support 4K are the HR ones, and of course, that is the codec that Pond5 say that they currently don't support. So we need something different for Shutterstock and Pond5.

I eventually decided to export as an uncompressed file (all 8G of it) and then used MpegStreamclip to create a PhotoJpeg version for upload. As long as Adobe continues to accept that, we should be OK although it is an extra step for each video.

Now how long will Adobe accept Photojpeg?

Steve

« Reply #15 on: April 12, 2018, 19:04 »
0
This codec issue is getting one step worse. I just tried to export one of my 4K masterpieces ready for upload and chose the Avid DNxHD/HR codecs in Premiere. The only ones that support 4K are the HR ones, and of course, that is the codec that Pond5 say that they currently don't support. So we need something different for Shutterstock and Pond5.

I eventually decided to export as an uncompressed file (all 8G of it) and then used MpegStreamclip to create a PhotoJpeg version for upload. As long as Adobe continues to accept that, we should be OK although it is an extra step for each video.

Now how long will Adobe accept Photojpeg?

Steve
I just uploaded 4k DCI, (DNxHR HQX 10 Bit) rendered from Resolve. (2gb for 22 sec clip) Shutterstock blocked it, Fotolia went through and so did Pond 5. They haven't been submitted, or approved yet, but thumbs are there to be keyworded. Resolve also still supports photo jpg. I don't understand why adobe stopped photo jpg support, not good.
« Last Edit: April 12, 2018, 19:09 by cdwheatley »

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« Reply #16 on: April 12, 2018, 19:15 »
+1
Interesting that Pond5 accepted it. I checked their contributor list of codecs just today and it still says they don't support that codec.

Friends of mine have also sent a tweet to Jon Oringer to ask about codecs at Shutterstock now that Adobe Premiere has dropped PhotoJpeg. Would be nice if the main stock video sites would get together to agree one list of acceptable codecs between themselves!

Steve


« Reply #17 on: April 12, 2018, 19:44 »
0
Interesting that Pond5 accepted it. I checked their contributor list of codecs just today and it still says they don't support that codec.

Friends of mine have also sent a tweet to Jon Oringer to ask about codecs at Shutterstock now that Adobe Premiere has dropped PhotoJpeg. Would be nice if the main stock video sites would get together to agree one list of acceptable codecs between themselves!

Steve
Absolutely, would be really nice if everyone on same page. Maybe Pond 5 list is dated? I'll repost here if the files get rejected for codec on other side. They are twice the size of photo jpg. Only real bummer about the DNX files is I can't see them on my windows 10 computer unless I open in adobe bridge.

« Reply #18 on: April 17, 2018, 02:27 »
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I tried aftercodecs 1.3 from AeScripts and I've sent some clips rendered as ProRes 422 HQ to AS, SS, P5, and SB. The clips were accepted and online now at AS and SS, still pending reviews at P5 and SB but I think everything will be ok. I've used the trial version which allows you to render full resolution clips but limited to 20 seconds

« Reply #19 on: April 17, 2018, 02:57 »
0
Did you notice any first problems with AfterDodecs?
At their official page thy mention:
https://autokroma.com/AfterCodecs/tech-spec/index.html

"Known Limitations
Dont use the ProRes for broadcast. Always test your hardware and software. It is a reverse engineered version of ProRes not approved by Apple ; for example ProRes 4444s Alpha channel doesnt seem to be accepted by Blackmagic Hyperdeck Studio Mini.
For x264 Quality < 100 and x265, dimensions of the video must be even (odd resolutions will fail)
Alpha renders (ProRes 4444 and Hap) dont store the Alpha mode, by default when reimported in AE the footage will be in Straight Mode
Theres a slight color shift when ProRes videos are played in Quicktime Player and VLC (but no color shift when the video is re-imported in AE)
There seem to be an issue with High DPI screens on OSX (4K / 5K), press SHIFT+ESC to put the window back in the top left corner
When rendering with After Effects :

ProRes 422 always have a soundtrack even if you dont render sound (for AE OSX compatibility)
If the content is complex (with small repetitive patterns in background for example etc.), AfterCodecs ProRes has a hard time matching the official Apple bitrate : files can be 50% bigger but they will also be of higher quality. If that happens, you can try to step down the profile (e.g. choose Normal over HQ)
ProRes 422 has a color shift when reimporting on Premiere Pro / Media Encoder CC versions <= 2014"

« Reply #20 on: April 17, 2018, 03:50 »
0
Did you notice any first problems with AfterDodecs?
At their official page thy mention:
https://autokroma.com/AfterCodecs/tech-spec/index.html

"Known Limitations
Dont use the ProRes for broadcast. Always test your hardware and software. It is a reverse engineered version of ProRes not approved by Apple ; for example ProRes 4444s Alpha channel doesnt seem to be accepted by Blackmagic Hyperdeck Studio Mini.
For x264 Quality < 100 and x265, dimensions of the video must be even (odd resolutions will fail)
Alpha renders (ProRes 4444 and Hap) dont store the Alpha mode, by default when reimported in AE the footage will be in Straight Mode
Theres a slight color shift when ProRes videos are played in Quicktime Player and VLC (but no color shift when the video is re-imported in AE)
There seem to be an issue with High DPI screens on OSX (4K / 5K), press SHIFT+ESC to put the window back in the top left corner
When rendering with After Effects :

ProRes 422 always have a soundtrack even if you dont render sound (for AE OSX compatibility)
If the content is complex (with small repetitive patterns in background for example etc.), AfterCodecs ProRes has a hard time matching the official Apple bitrate : files can be 50% bigger but they will also be of higher quality. If that happens, you can try to step down the profile (e.g. choose Normal over HQ)
ProRes 422 has a color shift when reimporting on Premiere Pro / Media Encoder CC versions <= 2014"

I'm using Premiere Pro for rendering:
Looks like they meant don't use it for live tv broadcast unless you test it with your hardware/software
Clips were looking great.
Audio wasn't rendered with the clips


 

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