Adobe Premiere & Premiere Pro discussions from 2005

[Richard Lewis]

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

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

[Wayne Maxwell]

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?

[Pete Bauer]

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.

[Brent Ray]

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?

[Pete Bauer]

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.

[Tore Krudtaa]

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

[Ed Smith]

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 ,

[Pete Bauer]

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!

[Tore Krudtaa]

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.

[Bill Hamell]

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

Thanks,
Bill

[Pete Bauer]

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!

[Pete Bauer]

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.

[Bill Hamell]

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

[Ed Smith]

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.

[Tore Krudtaa]

Thanks a lot for the replies.

Have to add one thing...

Great forum this place !!

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