First a couple of things:

1. DVD only supports one compression format that you'd want to use and that is MPEG2 indeed

2. I'm not sure if Premiere 6.5 already came with an MPEG2 export engine (think it did)

3. You are going to need an authoring application to turn the video (MPEG2) + audio (see below) into a DVD that a player understands

So I need to know if point 2 is true or not and which DVD
authoring application you have (point 3).

Now I believe most new/modern DVD authoring applications can
do the MPEG2 encoding as well and usually have a fit to disc
option where it calculates the correct bitrates to fit your movie
onto the disc.

HOWEVER, 2 hours is taxing for a DVD-R/+R to store in a good
fashion, so quality might be less than what you would like.

With MPEG2 encoding you have two options:

1. constant bitrate encoding (CBR)

2. variable bitrate encoding (VBR)

All encoders support at least CBR and most also support VBR
(usually gives better quality).

For CBR you only have one bitrate and for a 2 hour project 4.5
or 5 mbps should about fill the disc.

VBR is a bit more tricky where you usually have a minimum, average
and maximum bitrate which probably needs to be 0 - 4.5 - 7
or something in this case. These numbers may be a bit off and
as always some experimenting and checking final filesizes might
be in order!

Do NOT encode your audio as MPEG, export the audio seperately
as WAV (uncompressed PCM encoding) or PCM and load that
directly into your DVD authoring application, or use Dolby Digital
AC3 encoding for your audio if Premiere has that (doubtful for
version 6.5).

Hi Neal,

I guess we are all assuming that when you say, "plan on presenting it on DVD" you mean that you want to create a DVD that behaves like a commercial DVD, so people could take their copy and play it on their TV from stand-alone DVD players?

You can use your DVD-R / DVD+R burner to either (1) create computers files of any format (video, Word, whatever), just like with CD-R, or (2) to author a DVD with functionality similar to commercial DVDs, ie, will play on most stand-alone players.

If you just need to create your own copy to do a presentation from computer, or the material can be stored on a company server as one or several video files for people to reference as they wish, method (1) will work fine.

Just choose a file format and codec that works for you, export, burn the file(s) from your hard drive to the DVD, and play them on your computer. Which file format to use involves as much opinion as fact. In the Windows world, I've been pretty pleased with the newer Windows Media (WMV). Looks great and plays well on Win systems at relatively small file sizes. I'd anticipate that with a little experimenting, you could get 2 hours of good quality WMV video on one disc.

If you need method (2), then you do need a separate DVD authoring application.

I'm using PPro 1.5, so my memories of Premiere 6.5 are fading, but I'm 99% sure that it can export MPEG2. Still, Adobe Encore, for one, does exactly as Rob says...it'll import AVI with no muss or fuss. Then once you've created your DVD's menus, chapter points, etc, you can choose your specific MPEG2 settings for the burn.

So, it may be more straightforward to export from Premiere to an AVI file (if possible, uncompressed which would be a HUGE file...you might have to pick a compression codec just to fit it on your hard drive) and then use your DVD authoring application to import. Your authoring app will be certain to burn to DVD-compliant files.

For the actual burn-to-DVD settings, I think Rob has done about as well as can be done without being there to see the output. Especially considering different programs use different transcoders, there just isn't really one set of export settings that'll be best for every DVD-burning project. In general, the higher the data rate, the better the video at the expense of the running time that'll fit on one disc. VBR is generally said to be better than CBR, but harder to calculate. Similarly, 2-pass is said to give better results, but does take a lot longer than 1-pass.

I'd suggest picking a SHORT segment of your video with a lot of complex scenery and/or motion and run that through the whole process to a "disc image" written to your hard drive. Burning DVDs is pretty time consuming; testing things out on a short sample using a hard disk image, rather than actually burning to a DVD, will speed up your experimentation with various setting tremendously. You'll be able to quickly see what works and estimate how big the project is in terms of MB/min.

BTW, if you do use Encore, the manual has a brief but detailed section on calculating final project size, and their web site has great 3-5 minute video tutorials on the whole process, as well as integration with other Adobe apps.

I hope that the combined info from Jon, Rob, and I will be enough to get you through.

Happy Holidays!

Thank you very much for all the help, this has answered all my questions wonderfully!

Premiere Pro and 5.1 audio...
 

ive always had an issue with this..

now ive started projects with a 5.1 soundtrack, however i then import a stereo track and thats all good, L/R are working fine.. BUT how the hell do i set it up so i can create keyframed pans and multiple tracks so i can create a 5.1 mix??

Im from the vegas camp and its dead easy to do this, theres no need to go into any menus or anything, i jsut d it on teh timeline.. so if anyone would like to enlighten me on this, that would be great.
Im running Prem Pro 1.5 without any hardware assistance (ie no RTx or Canopus systems)

Premiere Elements ?
 

I am thinking about buying Adobe Premiere Elements.
Premiere Pro is way too high priced. Has anyone any experience or review on Preimere Elements?
Thank you

Here is my concise and informative evaluation into Premiere Elements.....cough ...cough.

http://www.dvinfo.net/conf/showthrea...threadid=32579

conform this!
 

Whenever I open up a project in Premiere the program has to "conform" all the clips that I have in the bin for the project. This can take up to 10 to 15 minutes sometimes.

Is this normal? Why does if have to do this each and every time. Also when I export a file to movie it adds the movie to the bin and then has to conform that. I dont get it. It seems like a huge waste of time.

Any thoughts?

I just checked the Adobe forums and there are a couple of complaints similar to yours, but no specific solutions.

I'm no expert on this one, but here's my best understanding:

What's supposed to happen is that during import, any audio that isn't 32 bit and at the same sample rate as the project settings gets automatically conformed to that (which can take some time -- the manual does warn of that) and the conformed audio is then kept as a temp file in a Conformed Audio folder. If your HDDs, or settings for temp files within PPro, don't allow enough room to keep them, or point to the wrong location to get those temp files, PPro will reconform them next time you open the project.

So it is at least worth a try, if you haven't already, to set up a spacious, dedicated location for Adobe temp files, preferably on a separate physical drive from WinXP and PPro, and set the preferences in PPro to always point there. I followed the directions on "maximizing scratch disk performance" and only notice conforming going on during initial import.

I usually choose to not automatically add a file that I'm exporting back to the project anyway, but audio conforming would be another reason not to do that for a big export that you don't actually need back in your project.

Not sure that I'm hitting the nail on the head, but hopefully a start.

24fps in PPro looks terrible
 

Maybe I missed something, but I just shot a bunch of footage today with my friend in 24p 16:9 and captured it with Premiere. I made sure the project was in 24p and everything, but the picture is incredibly jerky. It just looks awful. There's a pan across part of the sky, and it flashes lighter and darker every 4 frames. I thought premiere was able to hand 24p cameras. Am I missing something? Does anyone have any advice?

Need to ask a few questions before I can help much:
- Which version of Premiere are you using?
- If using PPro 1.5:
-- Is this jerkiness visible within Premiere, in exported files (of what type), or both?
-- Which pulldown method did you shoot with, 2:3 or 2:3:3:2?
- If exported files are what are jerky, what software are you using to view them?

Only the latest version of Premiere, PPro 1.5, supports 24p. If you've set PPro to the wrong pulldown, that could cause problems.

Windows Media Player (WMP) does not fully support 24p, at least as it is exported from PPro. Here's a recent thread on that issue:

http://www.dvinfo.net/conf/showthrea...threadid=36753

That thread also points to info I posted on my personal web site about the WMP issue; that info is the limit of my knowledge on WMP.

Let us know a little more info on your hardware and software, and we'll go from there.

How do I Anamorphic footage in Adobe Premiere Pro 1.5?
 

Hi.

All my footage is shot using an Anamorphic adapter.

Is it possible to see the footage in when editing in16/9 format?
If so, what do I have to change to be able to do that?

Is there some parameters I have to set when capturing?

Is there some parameters I have to set when exporting?

Using Adobe Premiere Pro 1.5

Hi tore,

All you need do is set the Premiere project template to 16x9 this way everything you capture will be 16x9 and your project/ monitors will also be 16x9.

Cheers ,

Hi Tore,

Happy New Year! Easy answer on this one...I found the text below in PPro's help. It is in a section called "Preparing for DV capture:"

If the video you are capturing was shot in 16:9 format using an anamorphic widescreen add-on lens, be sure to choose a Widescreen (cinema) DV preset. You'll also need to set the pixel aspect ratio for each individual clip after importing. If you don't, Adobe Premiere Pro treats the video as if it were in 4:3 format, resulting in distortion of the aspect ratio. See Capturing or importing various aspect ratios.

So the summary is: make a 16:9 project, import your anamorphic clips as 4:3. Then right click on the clip in the Project window and select:

Interpret Footage...>>Pixel Aspect Ratio -- Conform To: (change from D1/DV PAL to D1/DV PAL Widescreen).

That should do it...happy capturing!

Thanks for the replies.

The answer will help me but....

Having to select imported clips manually and then convert them to the right aspect ratio makes room for errors that could easily have been avoided if it was possible to tell premiere to do this automagically when importing the clips.

Is there no automatic workaround for "having to select each of the imported clips and then using Interpret Footage ..... to change the aspect ratio" manually?

I would like Premiere to automatically convert to the proper aspect ratio on the fly when importing the footage or auomatically after each of the clips was imported in full.

A Capture Question
 

When capturing PP captures the clips as AVI is there a way to have PP capture in MOV or RawDV?

Thanks,
Bill

No, not unless you have a third-party capture module that would do the transcoding on-the-fly. I'm not personally aware of any, but they may exist.

You can import a variety of formats, such as MOV, but capturing takes the DV stream from the camera and makes it an AVI file; the datastream is not transcoded or re-rendered. So quality isn't really an issue with having to capture and transcode separately. Transcoding has to happen at some point to get from DV on the tape to MOV on the computer. It just is a two-step process in PPro: you'd have to capture to AVI, then export to create, for example, a MOV from your original miniDV tape.

You'd probably only want to convert to MOV, etc if you are planning to edit with software that natively uses that format. For working within PPro, you'd want to stick with DV capture to AVI anyway, because that's what PPro uses natively.

Happy New Year!

To the best of my knowledge, you can't change the Pixel Aspect Ratio (PAR) flag in clips during capture in PPro.

As far as automating, the simplest thing to do is capture all of your clips, then within the Project Window just Ctl-select or Shift-select the ones for which you want to change the PAR, and do the "interpret footage" procedure once for all of them.

If you have a variety of kinds of clips, it might simplify life to create separate bins and capture clips directly to the appropriate bin. For instance, if you have imported clips that are already 16:9, put them in one bin. Then capture all the 4:3 clips to be converted to 16:9 in another bin, select all the files in that bin, and off you go. Even if you have a hundred clips, that should just take a few moments.

Pete,

Happy New Year to you!

Thank you for the thoughtful and intuitive response.
It answered all my questions even the one I did not ask (“the datastream is not transcoded or re-rendered”.)

Thanks again.
Bill

Yep Petes correct.

Even if you create a 16x9 project (using the 16x9 template), and you want to capture 4x3 with 16x9 aspect ratio it will not allow you. It takes the flag from the source. And so if you capture 4x3 with the 16x9 template the capture screen will default to 4x3. However when it sees a 16x9 clip with a 16x9 flag it will capture it 16x9.

The only way to change the aspect ratio is to interpret the footage once it has been captured.

Thanks a lot for the replies.

Have to add one thing...

Great forum this place !!

Fast response to questions, even for newbies like me :-)

Hey Pete

Thanks a lot for your reply. That make a lot of sense.
I will give it a try and see what happens. Now that
you explained it I am sure that is what happening.

Thanks again!

Hi Pete, I'm using Premiere Pro 1.5. I shot the footage in 24p, widescreen, with 3:2 pulldown. Should I film my 24p footage in 2:3:3:2 since that's what Premiere has for the pulldown option? The jerkiness is there no matter what I do with the footage. Whether I export it as a file, export it back to the tape, or even just watch it on the camera through Premiere, the jerkiness remains. The other thing I noticed is that every 4 frames, the picture goes slightly darker for one frame. It only looks this way after I've captured the video. It looks fine on the source of the footage. It almost seems like this is a capture problem. The fact that the audio doesn't sync up with the video during capture also points to that. Is there some way to change the capture settings so it knows i'm capturing 24p? This is really quite frustrating. I've been playing around with some things for a few days now and I'm still making no significant progress. Thanks for helping.

Hi Brent,

Is it OK with normal footage - i.e none 24p?

Sometimes jerkiness can be associated to bad Harddrive/ disk performace. However if normal footage is OK, then its more than likely the settings.

Brent, thanks for the further info.

The general advice is that unless you have a specific reason to shoot 2:3, set your camera on 2:3:3:2 and leave it there. I'll requote a comment that is buried in this post:

http://www.dvinfo.net/conf/showthrea...&highlight=24p

The consensus around here is to use 2:3:3:2 pull down. If you look closely at the 2:3 pattern, there's no way to cleanly get rid of extra frames and be left with the original progessive frames. Once you've shot 2:3, there's no going back -- you either have to export it to an interlaced final product, or, if it is even practical, do a lot of post-production work to minimize the interlacing artifact that'll be induced by rendering back to progressive footage, either 24p or 30p.

Here's another extensive thread about pull-down:
http://www.dvinfo.net/conf/showthrea...&highlight=24p

If you haven't already, try this menu setting:

Project>>Project Settings>>General...>>Playback Settings... button and in the "DV Playback Settings" dialog box, make sure the "Repeat Frame" is selected in the "24p Pull-Up Method" radio button near the bottom of the dialog box.

What's not clear to me is if this is truly just a playback option within PPro and thus doesn't affect capture or export (just playback within PPro), or if it really is telling the software how to capture and export as well. Please give that a try and let us all know what happens...but if that doesn't help, then I'm scratching my head, too.

If this setting DOES matter and you have 2:3 footage but PPro is set to use 2:3:3:2 pull-Up, it makes sense to me that you'd have the kind of problems you describe. Here's why:

Caveats to that which follows:
- I haven't had my coffee yet this morning and I'm not using source material, just trying to logically follow the pull-up schemes as best I know them. So could easily have screwed something up.
- I'm using CAP letters for lower field and small letters for upper field of a given frame. (DV is always lower field first).
- I don't know which field of a frame is duplicated when a 3rd field is created for 24p footage on a 60i tape. For these illustrations, I'll assume the upper field is the one that is duplicated.
So: if someone sees that I've made an error here, please don't be shy about correcting!

With 2:3, this is what is on 1 second of tape:
Aa Bb bC cD dd Ee Ff fG gH hh Ii Jj jK kL ll Mm Nn nO oP pp Qq Rr rS sT tt Uu Vv vW wX xx

This is what 2:3:3:2 pull-up expects to see (underlined "extra" interlaced frames are intended to be removed to make 24pA):
Aa Bb bC cc Dd Ee Ff fG gg Hh Ii Jj jK kk Ll Mm Nn nO oo Pp Qq Rr rS ss Tt Uu Vv vW ww Xx

Actually removing the frames from 2:3 footage using 2:3:3:2, this is what's left on a 24fps timeline:
Aa Bb cD dd Ee Ff gH hh Ii Jj kL ll Mm Nn oP pp Qq Rr sT tt Uu Vv wX xx

For export, neither scheme can recreate the original 2:3 footage since fields have been totally removed. The 2:3:3:2 scheme would end up (added fields are underlined):
Aa Bb bc cD dd Ee Ff fg gH hh Ii Jj jK kL ll Mm Nn no oP pp Qq Rr rs sT tt Uu Vv vw wX xx

Even if you changed back to 2:3 for the export (not sure I have this one quite right):
Aa Bb bc Dd dd Ee Ff fg Hh hh Ii Jj jk Ll ll Mm Nn no Pp pp Qq Rr rs Tt tt Uu Vv vw Xx xx

Ok, time for coffee!

Ed, I've tried recording some footage in all three of the framerate settings (60i, 30p, and 24p). The 24p is the only one that's giving me trouble, so I don't think it's a computer performance issue.

Pete, thanks for the detailed reply. I tried doing a little test with my camera. I filmed about 15 seconds using the 2:3 pulldown and then another 15 seconds using the 2:3:3:2 pulldown. I've found that they come out looking exactly the same. I captured each one separately, and I cannot notice any visible difference. What's strange is that when I do shorter captures, that jerkiness I was talking about seems to go away. I captured about 7 or 8 minutes of straight footage before and I got all that jerkiness. But when I go back now and capture it in smaller chunks, it looks fine. But now there's another issue.

The biggest problem I have now is that there is a flicker every 4 frames. It's very noticable and distracting. This flicker does not appear when the raw footage is viewed on the camera; it only shows up after the video has been captured. It's not visible on the computer itself, but if I connect through my DV device to a TV, the flicker shows up there. It also shows up on the camera if I do an Export to Tape. So somewhere in the capture process, something is going awry. I'd post a short video clip of what I'm talking about, but the flicker doesn't show up on a computer, so it would be pointless.

Any idea what could be causing this?

Hmmmm. If very short clips do fine but longer ones are jerky, I'm really strongly suspicous that you DO have a system performance problem...HDD fragmentation and/or nearly full disk, DMA accidentally off, background utility interfering, flaky Firewire cable/connector...something. We have had folks with more than adequate systems get surprised by simple hardware issues that sneaked up on 'em -- 24p editing is more demanding of your system than the others, so that seems to sometimes be the straw that breaks the camel's back. So please do check the hardware basics anyway.

What's your hardware? Any recent changes?

If all the hardware appears to be in good shape after a careful check, a couple of specific things to check:
- Frame drops during capture?
- Make sure that all the scratch disk locations in the preferences are for a fast HDD other than where XP and PPro are located (eg, other than the C drive).
- If you do another generation of a short segment that misbehaved, does the problem follow the new, small segment or "magically" disappear?
- Are you sure it is every 4th frame, or might it be every 5th frame (that would be consistent with a pull-down problem).
- Is the flicker you see on the TV you're using as a monitor coming off a 24fps timeline or 30fps timeline? If it is 24fps, that may have something to do with it because regular TVs can only handle 60i (30fps).

If none of the above helps...if you don't mind, please do post a short clip so we can attempt to biopsy it! ;-) Along with that, please list your capture settings, project settings, and export settings.

Thanks again for the tips Pete. I changed my scratch disks to my external drive and captured the whole thing again. You were right, that did help with the jerkiness. I never saw any dropped frames before though, and the jerkiness was always consistent, so i don't exactly know how or why it happened.

In terms of the flicker. It is definitely every 4 frames. I thought it might just be the TV, but I've since ruled that out. First of all, when I play the raw footage straight from the camera, the TV plays it just fine. No flicker at all. It's only after I've captured the video that the flicker shows up. It's both on the TV and on the camera. IT's even there while playing it back on the XL2 through the firewire. I looked a little harder, and you can just barely make it out on an exported file on the computer. I exported a clip so you can sort of see what I'm talking about. It's much much worse on a TV, but if you look hard you can see that there's a little flicker.

I'm really stumped with this. Maybe Premiere just can't handle these 24p projects like it should. I've tried changing all sorts of options and nothing seems to work. Any more suggestions? Thanks so much for your help so far. Even if you haven't solved everything, it's still nice to know that there are people here who want to help.


Here's the link to that video clip:
http://www.sweepinghalo.com/flicker.mov

Again, it may be hard to see, but look around the tree branches and you might be able to see what I'm talking about.

black borders
 

how do i add black borders on to my video as if its 16:9?
i use adobe premiere 6.5. can someone explain in simple steps please.

Brent,

I think that more than one thing was going on. First, it sounds like PPro playback performance improved when you optimized the scratch disks -- so far, so good. Second, the issue that's really bugging you...pun intended...may well be a known 24p strobing bug.

If a picture is worth a thousand words, a video clip is worth....!!! As soon as I saw the over-exposed sky in your video clip, it reminded me of an Adobe forum thread and FAQ. Apparently, in 24p footage that is returned in any way to 29.97fps, video that exceeds 100 IRE will strobe every 4th frame. From a quick read of the thread, it looks like this is primarily a 2:3 issue, but also affects export to tape/external device from 2:3:3:2 (in other words, when 24p within the timeline is exported as 29.97, the strobing is introduced).

You'll probably have to register to get to the following links, but if you're an Adobe user, you ought to be checking in there periodically anyway, IMHO:

http://www.adobeforums.com/cgi-bin/w...iv.1@.3bb4e9c8

Here's the Adobe forum thread that led to the FAQ:

http://www.adobeforums.com/cgi-bin/w....7@.3bb49731/0

There's a LOT of info in the thread, so I encourage you to grab a beverage and sit down with it for a while. Then you'll be one of the smartest folks around here on this problem!

The work-around in the FAQ seems a bit involved to me, and in the thread (around post #69) I read that someone got decent results by simply applying the "Broadcast Colors" effect to make sure the footage stays within 100 IRE. Of course, you could also work with contrast, brightness, saturation, etc first to minimize any detail loss first before trying the Broadcast Colors effect.

It is most unfortunate that this has been known for a long time and no fix yet. Maybe that's why some of the posts at the Adobe site are a bit less polite than we all are here at DVinfo!

BTW, your clip doesn't look like it was shot in Southern California! ;-)

Wow, thanks Pete. I haven't completely raked over everything in those forums yet, but it does seem like quite the wealth of knowledge. I think you're definitely right about my problem, and the Broadcast Colors effect does solve it to an extent. It's still there a little bit, but I guess there isn't much else I can do. And I agree, it is quite surprising that there hasn't been a fix for this.

And you're right, it doesn't look like Southern California because it's actually in Massachusetts. :) I go to school in Orange, CA, but I'm originally from the Boston area and I'm home for the holidays.

Thanks for all your help Pete. I really do appreciate it.

The technique you are referring to is called letterboxing. Visit my
letterbox calculator page to download a 16:9 mask or any of the
other masks:

www.visuar.com/letterbox/calc.htm

I can't really help you on how to get it working inside Prem 6.5,
it's been a long time since I used that. But it shouldn't be too hard.

Hi Chris,

Premiere 6.5 has a widescreen matte. Simply add a new video track above all your video clips in the timeline. Go to File menu and then select new> title. From the template drop down menu choose matte, then in there you'll see a 16x9 matte option. If you select it, then save the title (matte). Drag it from the project bin, into the spare video track and increase its length so that it covers all the project. Render if needed and then play. You now should have a widescreen matte over your 4x3 footage.

I don't know what frame aspect ratio it is, but it'll give you the effect.

You could always use Rob's template, or the clip effect from the video effects palette.

Cheers,

Help with Adobe Please
 

hello everyone and Happy new Year.

anywho ive been editting with Windows movie maker and now moving on to Adobe.

so im trying to capture but its giving me a hard time sometimes it will catch a few min of tape(start to pause) then when it moves to the next it will only catch a few seconds and ill have to punch in a clip name the it will give me a time code error.

all i wanna do is capture the whole tape with out having to babysit anyone have any ideas


Thanks Much

Cheers

Mike

Very difficult to help you without at least some information about what camcorder and computer configuration you have.

As just one suggestion: go to \File\Capture\Options and set the device brand and type to match the camercorder you are using.

im using a XL2 ( setting in Adobe Premiere pro is only for xl1 so i used that)

pc is pent 4 3.4mhz running XPpro




i did file>>capture>>set the options to the camera


Graham do you use Msn at all?

Hi Mike,

Yes, knowing a bit about your computer hardware and software setup will help. Also which Adobe software and version are you using?

For starters, though:
Although PPro 1.5 is more forgiving than earlier versions, it still doesn't tolerate breaks in the timecode more than a couple seconds long. If you've resumed taping past the end of the last shot on the tape, you'll have timecode hassles. If that is the case and you have another DV camera available to you, one thing you can do is dub your whole tape to the other camera. Done all in one go, the new tape will have its own timecode.

Hopefully that's a start.

EDIT: BTW, unless there has been a very recent update that I've missed, PPro 1.5 doesn't have a capture profile specifically for the XL2 since the camera came out after the software.

im useing premiere Pro 7

and i dont have another Camera to transfer it to



is there a way with 7 to just take everyting off the tape cuz i can just sift through all the work and cut out what i need ?




cheers Mike

thanks for what help you guys have provided

but i solved my time code issue buy capturing with Pinnacle and importing to Premiere.

well i didnt really solve anything i just went around the mountine instead of going through it.


thanks again

Cheers

Mike

Exporting to Tape Jittering need help!
 

Hi, guys. I have question.

I'm trying to export a mpeg2 file in Premiere to a mini DV tape with the stock settings DV NTSC Standard 48khz and I'm getting really bad jittering effects on the dv tape like one image is overlapping the other.

The reason I'm not capturing right from my original premiere file is because I wanted to add one minute of color bars at the beginning of the film without having to go back and move my original premiere file down the timeline and re-adjust the keyframes just so I could add an extra minute of color bars.

So, I started a new project and just exported the mpeg2 file I encoded and inserted the color bars before it. But, I'm getting this jittering effect.

I heard it could be my fields aren't set right. Right now it's on "lower field" and I've tryed setting it to "upper field", but I haven't had any luck. I'm trying to export to a GL2. Does anybody know how to solve this?

Would this be good for an editing PC with Premiere 6.5?
 

Hi friends,

I'm finally going to get a new PC that will actually allow me to edit footage at home (I currently mooch free 4 A.M. AVID time when I need to cut). I was going to put a system together from scratch, but then I came across an amazing clearance deal for the Gateway 505GR desktop. For basicallt 1K Canadian, I can get a PC with:

Operating System
Microsoft® Windows® XP Home Edition¹

Processor
Intel® Pentium® 4 Processor 530 supporting Hyper-Threading (HT) Technology4
Operates at 3.0GHz

1MB L2 Cache and 800MHz FSB

Chipset
Intel® 915G

Memory
1024MB DDR (400Mhz), Dual-Channel Memory
Expandable to 4GB

Hard Drive
200GB (7200 rpm, Serial ATA, 8MB Cache)5

Video
Intel® Graphics Media Accelerator 900 up to 224MB DDR Shared Video Memory

Audio
Intel® High Definition 6-Channel Audio (5.1)

Optical Drives
DVD±RW, Double-Layer Multiformat

Write max: 8x DVD±R, 4x DVD±RW
32x CD-R and 16x CD-RW Disks
Reads 12x max. DVD-ROM Disks
Reads 40x max. CD-ROM disks
CD-ROM Drive: 48x max. Read


Etc. Now, I know I'll still need a Matrox card if I want multi-screen options, but outside if this, would I be covered in the video / audio department with the Intel cards? Hard drive, processor and memory seem to be above spec as far as editing goes, so I'm just wondering about the rest.Any tips? Also, has anyone here had any *bad* experiences with Gateway PCs? They seem to use quality components (Seagate 7200 Hard drive, Intel everything...). Any and all input would be graciously appreciated!

MD