![]() Shoot in 10, 12 or 16 bit, if you can. ![]() This is a fundamental limitation of digital imaging. So now the bands will now be 16 pixels wide, and as the levels get crushed down towards 0 they keep getting wider. Halfway through the fade the brightest pixel will be half as bright as it was, meaning our gradient now only goes from 0-128. Why you notice it even more during fades to black is explained by thinking about what happens to our 0 - 255 gradient as it gets faded out. This means you get bands of colour 8 pixels wide, which will be obvious to viewers (making matters worse is the fact that there's an optical illusion that causes human vision to exaggerate steps in a gradient). So the colours will have to repeat - roughly 8 pixels will have to share each value. In a HD picture this would be 1920 pixels that you have to colour with only 256 possible colours. Imagine that the gradient went over the entire screen. If your gradient is more than 256 pixels long on screen, then there aren't going to be enough possible values to give each pixel a unique value. In 8-bit image (we'll use a greyscale example to simplify) this means the black pixel is at 0, and the brightest pixel is 255 (2 8 = 256) with 254 possible values in-between. Imagine that you have a gradient of tones from the brightest possible white, to the darkest black. Banding is where subtle gradients run into the limits of the bit-depth in the codec, often amplified by artifacts from compression. This cut my troubleshooting time down considerably, as I didn't have to keep exporting footage. They do not appear if I haven't pressed "Render In to Out". The flickering lines then appear when I preview the timeline. I did learn that I can replicate the issue just by setting In and Out points on the timeline and rendering inside Premiere i.e by going to Sequence > Render In to Out. Rendering the same footage on a Macbook (I usually work on a PC).Installing an older version of Premiere, downgrading the project, and rendering out of the older version.avi, very high bitrates, CBR, playing with every encoding settings Rendering the project in every imaginable way i.e.Using opacity keyframes from 100 > 0 > 100 instead of dip to black.Removing all effects except dip to black i.e just Dip to Black on pure raw footage.Switching from GPU to Software renderer.Aside from countless hours of Googling, here is a list of things I have tried: I've spent the past two days trying to find a solution, to no avail: the problem continues to appear. Here is an example of the problem: (the password is "help")ĭoes anyone have any clue as to why these flickering lines are appearing during fade to black transitions? How could I get rid of them? After watching the render, I noticed that on every fade to black transition, a bunch of flickering lines would appear on the white wall behind me. Everything looked great and I rendered the project out. I have completed my edit in Premiere and used a couple of "Dip to Black" effects as transitions between different moments of my performance. The footage I received from my cameraman was shot on a GH5, and it's technical specs are 23.976 fps, 1920x1080, and H.264 10 bit 4:2:2. Any help is greatly appreciated.I am working on documentation of a performance/musical instrument design project I completed in the springtime. Did the same in Davinci and I was getting the flicker even in the h.264 file. I've done exports in Premiere from BRAW to h.264, no flicker. ![]() I tested exports on the same clip in Resolve and Premiere. Windows 10, 64GB Ram, AMD Threadripper 2950x. I'm on the latest studio drivers from GeForce on my 2080 Super, 471.41. So it seems like it's a bug with Resolve. It also plays back in the external Blackmagic player. I'd really like to edit in Resolve because I'm also color grading in Resolve. Nothing has worked so far except Premiere. I've tried re-importing the clips, unlinking and linking them, starting a new project. It plays perfectly fine in Premiere but in Resolve it flickers. It ONLY happens in Resolve, not Premiere.įootage was recorded on a Pocket 6k in 4K DCI with a Constant Bitrate of 3:1 to a Sandisk Extreme Pro 128GB card with a write speed of 170 MB/s, which is more than enough. "Media Offline" flickers intermittently during the take.
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