Adobe Premiere & Premiere Pro discussions from 2004

[Ming Dong]

I exported a flattened avi, created a new project and imported the avi. But PPro still hung when I tried to Export to DVD. (Note: I have burned DVDs in the past directly from PPro)

I then tried importing the flattened avi into Nero, and was able to burn a DVD. Although the video quality (of the DVD) was not as good as PPro (when it works).

Lastly, I imported the avi into Encore, and was able to burn a DVD with good video quality.

Still, I prefer to burn directly from PPro if I don't need a menu on the DVD.

Is it possible that my PPro problems are related to my recent install of SP2?

[Jimmy McKenzie]

Th e way to test the influence of a config change is to revert back in time to your last known working checkpoint.

From that point, test the functionality and add 1 thing at a time. This will slowly bring you back to your desired system settings.

The other area to investigate is whether or not premiere is being allowed to burn by the system. Try disabling the startup program launched by Nero. This way the burner will be dedicated to only one program.

[Michael Bernstein]

Adobe Premiere 6.0 (creak, creak).

I got some footage from my VX2100. I set exposure manually, but the raw stuff looks OK on my home TV.

I super a title over some of the clip. When the title is up, the entire clip darkens (on computer's LCD monitor & on home TV playback of rendered clip); when the title goes away, clip lightens up.

If I process the clip with the AE Broadcast Colors plug-in, the darkening effect stops.

So, limiting the IRE to 120 or less is good, yes? The manual recommends that you set the plugin to limit the IRE level to 110. Any thoughts?

And why did the title--which used the black alpha channel transparency--make the clip dark when displayed?

Michael

[Rob Lohman]

I think I remember something about that being a bug or something.
It should not do this ofcourse. Another way would be to make
titles in a paint program and overlay those.

I do not know too much about IRE levels and such, but I guess
you only need to worry about that if you are going to air the clip.

[Miguel Lombana]

I answered this a while back on another board... hope this helps:

Here's a step-by-step:

For the side by side I added 1 superimpose video track-
Dragged 1 video segment into video 1a and a 2nd track into video 2-
I added the Transform Tool (under Perspective in 6.x) to each clip-
I ran a scale height and width to 50% on each clip-
I used the Position on 1 clip to and set it to 180 x 240-
I used the Position on the 2nd clip and set it to 540 x 240-
Finally I set the transparency to alpha channel for the 1 clip that had that option and rendered the file.

For a quad box I did everything exactly the same except:

The screen needs to split 4 ways and you need 4 super tracks and you also have to setup all 4 clips on the alpha channel. Do this...

Set clip 1's position as 540 x 120, clip 2 as 180 x 120, clip 3 as 180 x 360 and clip 4 as 540 x 360.

Any additional, just email me ...

<<<-- Originally posted by Lukah Sighs : hi,

must sound as a rather stupid question for you die hard premiere pro users...but anyway, how can i make a splitscreen? on the left and the right side an image, seperated with black. there is no transparancy thing in pro like in 6.5.

thanx!
lukah -->>>

[Anton Coene]

Hello,

I'm Anton and together with a friend of me we're working on this endproject for his school. We are taking it very important, and are prepared to put a lot of work in it. However, we had this question about "creating special effects" in Adobe Premiere. There is this location, where one of the "bad" guys live. Some days ago I've made together with the friend some pictures, to put it into his logbook. These pictures has been simply made by a black and white setting on a digital camera. Afterwards, we've photoshopped the pictures. Now we had this question, if you can create the same effect in Adobe Premiere as in Photoshop. Now do we need to photoshop every frame in the movie, or can we set something in Adobe to make it change every frame automatic.

I'll give you 2 examples of the pictures, which have been editted.

PS: Sorry for my English, I really have a problem with it *blush*

Picture 1 ( Before editting ): http://users.skynet.be/coene/Voorlopig/BANDW_38.jpg

Picture 2 ( After editting ): http://users.skynet.be/coene/Voorlop...en_finish2.jpg


=> We've changed the contrast and the darkness of the sky and the building. Car and flags has been deleted...some other objects on the house either.


Picture 3 ( Before editting ) : http://users.skynet.be/coene/Voorlopig/BANDW_39.jpg

Picture 4 ( After editting ) : http://users.skynet.be/coene/Voorlopig/huis.jpg


==

I hope you understand my question :)


Thank you in advance!

Anton.

[Michael Bernstein]

I don't think the bug, if it is that, is particular to the default titler in Premiere 6.0 or in Title Deko (also shipped with 6.0).

I created a title in Photoshop and used luminance keying to super it over the same footage. I got the same dimming effect while the title was up.

Perhaps exceeding broadcast levels for festivals is bad, too, since the footage will likely be displayed on a CRT or with a CRT projector, and if the IRE levels swing wildly then the image will "pop" at the transitions.

So far everything I've seen and read convinces me to use "Broadcast Colors" (IRE restricted to 110 or below) for my final product.

Michael

[Lauri Kettunen]

Well, guess I understand what you want to do. Making things blac & white is easy. Just select in Premiere Pro video effects -> Image control -> Black & white. In Image control you also find the tools to adjust contrast, gamme etc.

Removing the flags is already more challenging, and the easyness of the removal depends on whether your camera moves or stays steadily. If your camera is steady, then import one frame to Photoshop, and use what ever tools you have there to remove the flags. Then create an image (having precisely the resolution of your video) covering the flags on a blue/green/white background.

Import this image to Premiere, overlay the Photoshop image with your video and use keying. The very idea is that the image created with Photoshop covers the flags and the poles of the video but nothing else.

Does this help at all?

[Anton Coene]

Thank you for your reply Lauri, it sure helped us! However I have some questions left:

If you import a frame from photoshop into Premiere, and overlay it, isn't that giving problems with an object in the movie that's moving? For example a person who is walking on the grass...Doesn't that gives as result that the object doesn't look clear, because of the overlay?

I also heard from a teacher that you can fix everything automatic, even when the camera moves...Is this correct or did he ment something else?

Thank you,
Anton.

[Ed Smith]

You might want to re-set the preferences file. Ctrl+Shift while opening premiere. Or finding the prem60.prf file and renaming it.

Title deco was only supplied if you purchased a Pinnacle capture card with premiere.

Are you using a DV500 Michael?

Thanks,

[Mark Williams]

Title Deko was also supplied in the U.S. with the Matrox 2000 and 2500 editing bundle that included Premiere. I never liked it much although it did have some interesting fonts. The Premiere 6.5 package had the new adobe titler that in my opinion was much better. I never had the problem descibed with any of these versions.

Regards,

Mark

[Michael Bernstein]

Nope, just have 6.0, a Sony VAIO laptop, and the VX2100. No DV500.

(Although it's annoying to wait for rendering of effects, particularly color-correction and blur effects, I'm surprised by how functional my P3 750mhz machine can be.)

I don't have a full-blown version of TitleDeko, just the slightly crippled version shipped with Premiere 6.0. I prefer it to the regular Premiere titler for anything fancy (e.g. a credits roll).

It doesn't seem that the choice of titler makes much difference, however. I can import a static image from Photoshop, super it with luminance keying, and I'll see the dimming-down that I describe.

I don't understand how resetting my preferences would affect this behavior. What would that do for me?

Thanks all for the thoughts so far!

Michael

[Steven Gotz]

As I recall, there is a Sony codec on Sony PCs that cause a problem with luminence.

You have to stop using that codec and use a standard Microsoft codec.

To check this, select a DV captured clip in your project window, right-click it and select Properties. Scroll down to the section listed as Video track 1. At the bottom of this section you'll see a listing for "Compressor:". If this section says ANYTHING other than just 'dvsd' (such as 'dsvd', Angel Potion, or 'dvsd', Grand Tech, etc.) then you've got a codec you'll want to remove from your system. Search out the associated codec .dll file and delete it from your computer. There are generally Adobe tech docs or other web docs that can help you figure out what files you'll need to kill and where they usually reside. Just do a web search on the codec name.

Solution

Edit the Prem60.ini file to prevent Premiere from using the Sony DV codec, and then export video. (The Sony DV codec remains enabled for use in applications other than Premiere.)


To edit the Prem60.ini file to prevent Premiere from using the Sony DV codec:


Note: You shouldn't follow this procedure if you use a non-OHCI capture system, which typically requires an ICM codec.


1. Exit from Premiere 6.x.
2. Open the Prem60.ini file in a text editor, such as Notepad. The default location for the prem60.ini file is Program Files/Adobe/Premiere [version].
3. Add the following lines to the end of the file:


[Override]
PreferDSCodecs=1


4. Save and close the file.

[Glenn Chan]

There are programs out there which can do motion tracking. Basically they lock onto a certain part of the image and can:
A- make the whole shot steady
OR
B- make everything that's superimposed onto your original footage follow along with the original footage. You can use this to superimpose a logo onto a building. You can also superimpose the original background onto the iamge to remove unwanted moving objects. I suppose you can also remove unwanted static objects if you create a replacement image in Photoshop.

Pixeldust is one software that does this:
http://www.2d3.com/jsp/products/prod...duct=pixeldust
(check out the movies)

Boris Red also does this.

2- The programs above do automatic motion tracking. You tell them to lock onto a certain area of the video, and they try to figure out where that area moved to in the next area of the image. Usually you select something with a high contrast edge, like the corner of a building against the sky.

You could manually do motion tracking with keyframes. I suppose this isn't too time consuming.

[Lauri Kettunen]

Glenn made the point, and there's not much to add there.

The principle is: a video footage is a two dimensional projection of the three dimensiona space onto a plane. This means, without any information of how the camera has moved, of the focal length etc., it is not possible to automatically to overlay anything above the original footage matching properly with the image. Some additional information is a necessity.

Now, what you can do is, pick frames say once every two or three seconds and make them to match properly. Then interpolate between these frames, which is to say, make the overlaying object to transform automatically between your chosen (key) frames. Premiere has all the tools for this; you will probably need to scale, rotate, and/or skew.

Hope this helps you Anton.