long clip cut small
 

how can i chop up a long clip, in premiere, and then save it as different avi files??

i know it seems kind of werid to answer my own question. but just in case anybody wants to know the answer to my question, here it is (i found it in a premiere book)

in order to cut the long clip short and save it into individual files, you will need to create virtual files and then export the timeline.

you can't simply export a cut clip, because with that function you can only export the video or the audio alone. i believe that it is actually fixable in the future, because, accroding to the book, people from adobe say that there's a flaw in design and they will one day fix that problem.

it takes time to render, but i guess it's the only way..

Charlie, it's my experience that you can export any segment of the timeline as a new clip, video and audio, using the work area bar and the export timeline-movie function. If you just want the cut clips in the current project you can give them an alias and drag them back from the timeline to the project window, where they will remain available under their new names - but only within the project.

David Hurdon

Premiere 6.5 problem
 

I am editing a short film in Premiere 6.5 that I shot on a Canon XL1S and all the footage is from the same camera and everything is at 16:9. Now when I export out a file in a filmstrip file to go into photoshop everything is fine. After I am done in Photoshop I import in the file as an avi but now when I put the file back into the timeline the ratio is off. It comes out looking squished or sometimes I am missing the sides. I have looked at advanced options > pixel ratio and thats set, then I make sure its maintaining ratio and that is set too. I can not figure out what I am doing wrong. Any help?

A.Premier-'Rolling Title Flicker' question
 

Hello and thanks in advance.

In Adobe Premier 6.5, everythink is working fine in my first ever AP project, except the credits at the end of the Timeline.

Video Track 1a: Rolling Title - the credits - Opacity = 100%.
Video Track 1b: Black Video

Playback inside AP and the Export Timeline to .avi plays back just fine on the PC, but when I author to dvd and then play the dvd on a TV, the rolling credits - the part without and works or the sides - appears to flicker. All the other titles in the .avi file display just fine, but they are displayed on top of normal video - video with moving characters in it.

Suggestions?

Thanks,
Sasha

I believe the flickering is caused by the TV displaying the video interlaced. I've had this problem as well and you see it everynow and then on the rolling credits at the end of movies.

Try increasing the font size/fonts: the small lines in characters tend to flicker the worst

Try adding/subtracting lines at the end to change the speed at which the title scrolls at: some speeds flicker much worse then others.

Good luck, that was the one of the worst parts I had to do in a video I put together, especially since it took forever to render a couple minutes of rolling titles on video!

Cheers,
Huey

Professional audio controls for premiere?
 

Does anybody make a device that has linear pots/sliders that interfaces with Premiere to control the mix? Something that looks like a 12 channel mackie but instead of taking analog audio in and out, it would have some sort of serial or USB interface to control the individual channel gains.

When a movie is remixed, all the original stems go through a board so that the levels can be adjusted on the fly while listening. The position of the faders is recorded and the sound is adjusted appropriately and repeatably.

This whole painful process of 1. deciding a sound is too low or too high on playback, 2. stopping the playback, 3. selecting the track, 4. guessing what percentage of gain should be added / subtracted or 5. moving a tiny rubberband, 6. backup on the timeline, and then 7. play again only to find your "guess" was close but needs to be redone, is nuts.

Really, this process is archaic and there must be a solution in real time. I understand Premeire Pro has sliders on the monitor that can be moved with the mouse, I still want multiple channels on a control panel in real time.

Somebody came up with a jog/shuttle knob that works well, this can't be that hard. Hopefully I'm ranting for no reason and someone will tell me where to get the "Premiere Sound Master 9000" or equivelant.

Jay

So, does anyone know if you can get the presets without purchasing pro?

The best scroll speed in when the rolling credit moves exactly 1 pixel every frame. Some titlers/NLEs don't allow this unfortunately.

You will get better results using a TV-friendly font (no thin lines and easy to read), the right scroll speed, and a titler that will do aliasing/anti-aliasing on the text. You can try adding some grey stuff around the text so it doesn't flicker as much (outer/inner glow, drop shadow, etc.) since the contrast of the edge is reduced.

If Cool Edit Pro (now Adobe Audition can comes with Premiere Pro) doesn't do it then Pro Tools will.

<<<-- Originally posted by Charlie Wu : i know it seems kind of werid to answer my own question. but just in case anybody wants to know the answer to my question, here it is (i found it in a premiere book)

in order to cut the long clip short and save it into individual files, you will need to create virtual files and then export the timeline.

-->>>

Hi Charlie,

this could be of great help to me, is it easy to create virtual files? Could you explain how to do it or is it quite complicated?

Thanks

Nick

I'm not charlie, but heres how to do it.

Locate the Block Select Tool - Found by keeping the left mouse button held on the selection tool (second one in from the top of the tool box), then select the too (second one in)

Mark your selection by clicking at your in point and dragging to the out point - ripples should appear at in and out point.

Let go, and move mouse over the selection you just made - The cursor should change to an icon which has 2 arrows coming out of 2 boxes.

Click and drag selection to a spare place on the timeline.

Your virtual clip is now created.

All the best,

Ed

XL1s Frame/Movie Mode & Premiere Pro
 

After doing hours of reading dissenting opinions online, I have created the following assumption. Can anyone confirm or correct this assumption for me?

If I shoot a film in Frame/Movie mode on my Canon XL1s, it will take (using a non-true progressive means) 30 full frames per second of pictures, however, it stores those on TAPE as 29.97 frames per second of interlaced pictures.

It does this by taking the 30 full frames in a semi-progressive mode, then on-camera stores them as 29.97i.

So, for best results and correct time-coding, when I capture and edit in Premiere Pro, I should setup my workspace as DV, 29.97, .9 pixel aspect ratio.

Is that correct?

Thank you in advance for your responses.

Adobe Media Encoder Squeezes and Stretches
 

I am trying to output my final product for two mediums - DV, for playback on an NTSC television, and streaming video for the internet.

I have edited the project in a workspace for .9 pixel aspect ratio, 720x480 size.

Now, using the normal Export > Movie, I can export the project just fine by using the same pixel size and aspect ratio, and although it looks stretched on my PC, it will look fine when played back on a television.

Similar, I can output the AVI and CHANGE the pixel size to 648x480 and pixel aspect ratio to "square/1.0". That makes the film look correct on my PC.

However, when I try the Adobe Media Encoder, different formats create different problems. For instance, RealMedia adds black bars to the sides and squeezes it vertically and Windows Media creates bars on the top and bottom and squeezes it horizonitally.

Neither has the option for setting up the pixel aspect ration, and Windows Media doesn't even have the option to set the output pixel size.

Is my best bet to output a full-size AVI, then import that into Premiere and output that using Media Encoder?

Does anyone have any other advice/tips/tricks?

Thank you!

I'm not sure about pixel aspect ratio, but all NTSC is 29.97.

Hi Eric,

I shoot Frame Movie mode exclusively, and it captures at 29.97 fames/sec. This is the project preset you use when you import into Premiere. As for aspect ratio, use .9 if the video is 4x3, use 1.2 if the video is 16x9.

Cheers,
Mark

For outputting to WMV (Windows Media Player's format):
Export a Microsoft DV AVI. Choose the default settings for Microsoft DV AVI.

Download Windows Media Encoder for free and use that. The WME interface is a bit flakey but for one video it's ok.

Realmedia: The player for this is horrible. I wouldn't inflict realplayer on my viewers.

divX: If your want the best quality and your movie is long (thus big files) then divX is a good choice since it gives the best compression. check out doom9.net for help on this.

Thanks
 

Thank you for your help - I am restricted to either RealPlayer, Windows Media or Quicktime for an online film festival.

I like WMA, but have had that squeezing problem. I'll try using thiers directly instead of through Adobe Media Encoder. Quicktime has the best quality, but the largest file sizes, and Real... well, I agree with you there.

Thanks
 

Thanks for your help. The fact that Canon says their frame mode captures 30 full frames a second is what was confusing, because it made me think that might be how I needed to setup the project.

Anyway, one other question - When I capture my video, I often times have a small black area at the bottom of it. It's a bit fuzzier than a "bar" but it does look like there is no video captured there. Is that normal?

I've found that quicktime with sorenson3 and mpeg4 audio beats windows media player if both are the same size.

Premiere Pro DV capture
 

A question to Premiere Pro users. Does Pro provide a much improved method of capturing DV or is investing in ScenalyzerLive still a good idea?

Thanks for any info.

Indeed. The peak file has nothing at all to do with confirming
audio. It is just a display cache, that's all.

I'd rather have a small peak file and then a fast operating when
editing (which Vegas gives me) then my audio converted to
32 bit and then down converted to 16 when I import. Thus
adding uneccesary waiting time and probably a slower running
system because it will have to process TWICE as much audio
data then any other NLE! That's just bizarre.

It would be nice if the NLE's themself supported low resolution
proxies with timecode, but I'm not sure if any do.

The problem is the fileformat, not the NLE. Most AVI codecs
don't allow for the saving of timecode information other then
the DV codec. However, you might have more luck trying
QuickTime because it supports it natively I believe.

But then again, why would you want? DV isn't eating up THAT
much space and harddisks are cheap. I really haven't had
troubles with performance. But then again, I haven't edited
anything longer then 15 minutes in lenght (original footage
maximum was around 1,5 hours resulting in almost 20 gb of
information).

What pixel aspect is set? It shouldn't be 1.0 which it might be.

What features are you looking for? Pro gives you better control for scanning back and forth on your tape, but logging & capture work about the same as far as I can tell.

I've heard/read that it also supports scene detection through
time/date breaks (like Vegas and Scenalyzer) now.

That probably doesn't exist because no professional is using
Premiere for that. Audio is almost always handled seperate
from the NLE. A lot of people who can't afford Pro Tools are
using things like Soundforge, Cubase etc.

To answer your last question, yes, that's perfectly normal for
that camera.

Canon calls is 30 fps because that's what 29.97 fps is called
(more easy) by everybody. Actually 30 fps doesn't exist for
NTSC. There is 29.97 fps or 59,94 fields per second (reffered
to as 60i). I do believe old B&W NTSC was true 30p/60i....

Always choose a workspace of 29.97 fps and then tell your
application whether the footage is interlaced or progressive
(frame mode - 30p).

Pixel Aspects can be a real nightmare and I don't have an
answer to your questions. Exprimentation is the best thing
to do here. Another problem is that Windows Media Player
not always DISPLAYS the footage correctly. This usually
seems to happen with mpeg2 footage. It display it at the
wrong pixel aspect with SVCD footage (the new WMP9 might
have fixed that though).

<<<-- Originally posted by Glenn Chan : I've found that quicktime with sorenson3 and mpeg4 audio beats windows media player if both are the same size. -->>>

Assuming you mean Sorenson pro, does it beat WME by enough to pay more than CDN$600 versus nothing? I'm not being sarcastic, I'm just frustrated by how difficult it is to do good QT for any reasonable cost versus wmv. I've had people tell me that Cleaner EZ sorenson 3 makes a great file for them but that hasn't been my experience and some reviews of the pro 3 aren't that complimentary despite the high cost.

David Hurdon

I got better results using QT than Windows Media Player 8. http://www.foraychallenge.ca/daytwo.html

That was just with quicktime pro. I believe squeeze just lets you encode faster- which is a god send if your project is an hour long and takes a day to encode.

Pixel aspect ratios I don't find to be a problem. DV for a computer format should be a multiple of 640X480 like 320X240 (I highly suggest 320X240 and lower to avoid interlacing issues). DV if I remember correctly is not a 0.9 aspect ratio but close to it.

Settings I find work are:
quality should be a low number around 20
keyframes should be 7 or higher- doesn't seem to make much of a difference.
limit data rate to... leave this unchecked
frames per second- up to you. If 15fps looks ok then go ahead (it probably shouldn't be 15fps on the dot but rather 29.97fps divided by 2).

encode only video first till you get something acceptable, audio usually takes very little space using a decent codec like mp3, mp4, and maybe qdesign music (qdesign sounds crappy to me with my own material, but not with the trailers on apple.com's quicktime section).

The program I was using was outputting direct from Final Cut Pro 3. Quicktime Pro on the PC should have the exact same settings for you to fiddle with. Adobe Premiere should have QT Pro built into it or something, but the interface is different and confusing.

DivX is the best though. :) My friend says that real player 9 is as good (takes longer to encode) but the realOne player is evil incarnate.

QuickTime Encoding Premiere 6.5
 

I've got a 2 min short shot on DV. I never encode to post on the web, but I've got a new website going with a friend. I'm trying to get the audio on this damn thing to not sound like it was shot in a tin can. Shot on a GL2, the audio is 16bit stereo 48khz 1 second interleave. That matches the project settings as well. Now what setting can I use to compress this audio? I tried to match what quicktime uses on the website for trailers, and they are using Qdesign Music 2, 22,5khz 16bit stereo and the sound on mine is completely awful and theirs is clear as day. Anyone have good audio settings that they use on a regular basis? For reference their file size is 7.12MB and mine uncompressed is 31.2mb. Any suggestions for decent audio?

I've changed it to 16bit mono in qdesign, and i've got my file size down to 8.62mb and it still sounds like crap, but now at the end of the file, there is this huge feedback noise (which about blew my speakers out) where there is no audio in the track. I'm honestly confused. There is no audio at this point in the timeline.

We are using IMU 4:1 on Lady X at 22.050 hz 16 bit stereo. When
I made it 8 bit it didn't sound that good either.

One thing to note is that Premiere has some very very bad
audio algorithms in the package. I once converted sound from
44.1 khz to 48 or the other way around and it was just
too bad to listen to with also cracks and plops that hurt my
speakers.

I exported the WAV in the original format, loaded it up into an
audio package, did the resampling there and then loaded that
back into premiere for final output. Presto! No more problems.

I'd bet that the problems are coming from the Premiere conversion
and not the QuickTime encoding.

qdesign sounds awful to my ears and not because of sample rate conversion (although this can be bad for your audio). The trailers sound wonderful though, it just might be how they mixed the soundtrack. Anyways, I would use mp3 audio (most compatible) or else MPEG4 audio (needs Quicktime 6 and is better compression than mp3). MPEG4 audio sounds great.

I agree with others that qdesign sounds bad. What is interesting is that's what Apple uses to encode the sound on their movie trailers for their website. But of course they are using a very professional encoder.

For my money, you can't beat IMA 4:1. Bump it down to 32Khz to save a bit more space, and/or convert to mono. It sounds pretty good at 32khz, surprisingly. It is also far more compatible then say MPEG 4.

Weird Rendering Results in Premiere Pro...
 

When I render my project in Premire Pro, the image gets all screwed up. If I knew the term to describe what is happening right now, I would, but I can't because I've never seen it before.

When I render the project or export to Microsoft AVI the picture gets messed up, how it is here:

http://www.visital.com/random/stillframe.jpg

This doesn't happen when I use Adobe's Media Encoder, but since I need the file to be full quality AVI, this does no good for me.

If you know what's going on or how to fix it, please respond ASAP.

Thank you very much,
Ryan Krga

Well that is definitely something beyond repair, that's for sure.

I'd say this is a major bug in the new version of Premiere. BUT,
please tell us exactly what kind of input footage you are using
(file format, codecs, resolution, framerate etc.) and what your
EXACT export settings are (file format, codec, resolution, frame
rate, bitrates if applicable etc. etc.). Try to be as detailed as
possible.

Footage:

-AVI
-Full Uncompressed
-720 x 480
-29.97 FPS

Rendering:

-Avid AVI Codec 2.0d2
-NTSC
-Interlaced
-15:1s
-Millions of Colors
-Optimize Stills Checked

Try reinstalling Premiere Pro?