I use you send it to send clients Clipnote previews it works flawlessly, Just like Cineform. Even given the little bugs that Peter has found in the new CS3 prospect workflow.

Peter what are your Computer specs?

Matthew, I use a BOXX 7400 with dualcore opteron 270's, 4gigs ram, Nvidia QuadroFX 3450, AJA Xena HS, Scsi320 raid 0. I also have a video toaster 3 with SX8 BOB for legacy stuff (I may upgrade to analogue AJA Xena card next year and toss the toaster -which, BTW, does handle/edit SD rez cineform media).

I did try to 'demo' a copy of Newteks SpeedEdit (looking for anything to replace PPro2), and it crashed repeatedly upon opening. Shame, I was interested in seeing how it would handle cineform media.

PPro3 is not without issues, nor is it complete, so even my observations could change with an update. I've just done very basic stuff; capture, cut and render (you know, things that crashed PPro2). So far, very good.

The titler within a cineform project is slow to open, but a little faster than with PPro2. Some transitions, such as push and cover, had verticle lines across the screen, but seem to have been addressed in latest plugin.

My recent issue is PPro3's lousy handling of large graphics. Old projects that were primarily still photo montages, etc. would open and then crash in PPro3. My latest, a single medium-size Jpeg is also crashed the app just scrubbing the timeline. I get the following:

AppName: adobe premiere pro.exe AppVer: 3.0.0.0
ModName: imagerenderer.dll
ModVer: 3.0.0.0 Offset: 0003215d

Somethings amiss with the imagerenderer.dll.

It's a cineform issue, I'm going to submit a bug.

My recent issue is PPro3's lousy handling of large graphics. Old projects that were primarily still photo montages, etc. would open and then crash in PPro3. My latest, a single medium-size Jpeg is also crashed the app just scrubbing the timeline. I get the following:

AppName: adobe premiere pro.exe AppVer: 3.0.0.0
ModName: imagerenderer.dll
ModVer: 3.0.0.0 Offset: 0003215d

Somethings amiss with the imagerenderer.dll.

It's a cineform issue, I'm going to submit a bug.

Sounds like an Adobe issue to me. Please submit a CS3 bug. With the Playback settings panel, turn off the 32-float which my help avoid image scrubbing/rendering issues.

Yup, that was it. 32bit float off -no crashy (the safe margins are also behaving). Not an issue in PPro2 either. 32bit float works there. Definitely a PPro3 bug. (Bug was already submitted earlier, but I'll readdress in regards to small images and safe margins).

Now, on to that blue/red thing...

Thank you Peter, it is awesome have an outsider do these tests and report bugs to Adobe. Too many coming from CineForm might seem likely we are complaining about features customers don't need. However 32-bit float is the thing they can and need to do better than FCP.

I just did a quick test of red over blue; timeline vs. 422 vs 444. All I can say is holy &*%$!

When double checking my export to AE for FX earlier, I actually rendered with the 444 option enabled, and then back again! (Must of been on by default). Earlier I commented on how this back and forth looked identical to the original capture. No wonder! Granted, when blown up to 100%, you can see a slight difference between timeline and 444, but 422 is huge.

I've uploaded some screen captures into a zip file.

Tried uploading them, no luck. I have to go set up for a shoot, and will try uploading the screen captures tonight.

We all go a little used to 4:2:2 as it is so common, but render a few things in 4:4:4 and can really see why FX work needs the extra chroma resolution.

Scary to think of how many techniques I used to pull a key on 4:1:1 (or 4:2:0). In an earlier post you can see that I used an old roll of green paper for the backdrop. Full of creases and wrinkles, and I used only three lights. My point was to create an 'ok' screen and see how far I could go. Well, the default settings of keylight got it! One click of the eye dropper and bang, key was done! Using 4:2:2 clips I had to apply two keys and use some CC to burn the edges red.

I could have went back to the set and added or adjusted the lights a little and made for a better key, but this equates into less hassle fixing things and more creative time building FX.

Here's the tiff examples I promissed earlier:

http://download.yousendit.com/93408E2B4689696C

Need some opinions.

I'll be providing an m2t of my little experiment in about hour. Gotta put the kids to bed.

Ok, I finally have an m2t file of my little "test" project resulting from the 444 RGB encoding of the new P2K code. I imported the high-rez final into PPro2 and rendered out a standard m2t file. The link will take you to my filefront page, where you can view a low quality, improperly scaled flash file. Best you just download the m2t.

http://files.filefront.com/7404785

The actual media itself is not important, but what's possible with the cineform codec. A marked improvement. Despite the 32bit float issue for large graphics (turning the feature off is a temporary fix), I feel the performance thus far justifies the upgrade. I've completed three small projects (real work) since testing this application, and I'm very satisfied.

I don't work for cineform, and I've never met any of the cineform folks. I'm not on the payroll, or taking a commission. My comments are based on facts and actual work.

If I seem overly upbeat or happy about this software it's because... well, to borrow a quote that all Jeep enthusiasts can relate to (once you own a jeep, you won't own anything else): "It's a cineform thing, you wouldn't understand"

Morning folks. Today I'm starting on my first long form project using PPro3, which involves about 8-hours of HDV material from a weekend company soccer tournament. Not really a test, but a working job so quit is not an option (like it ever really was before).

We've all.. (well, I have) come to a conclusion that PPro2 is not the best option for long form, memory intensive projects. Any project that requires loading more than four-hours of media and/or 100 stills can spell certain death for the project. The only work around is chopping the project up into smaller pieces, rendering in chunks, then reassembling the final renders for yet another final render. Then, and only then, can we embark on the second well know journey of trying to make a decent quality DVD, (not enough beers in the case to cover that topic).

The end result is that one project can turn into many, and if you encounter a change or edit to the original material. It can be become an all-day event.

So, here goes... I'll post back in a few days.

I recommend that whatever you do with the stills, you do it in a separate project and export it into a new DV AVI.

Bring your HDV into a SD project and edit it all there along with the stills (as AVI)

That should help with your memory issues.

Yes. Such was the fix for my last big project. Had one tiff frame grab that I used as five second still. Everytime I encoutered that image, it would crash or hang (jpeg didn't work, resizing nada). I had to open a new project, import the still, render it as a five-second clip and replace that in the original project, (Thanks to optical mice, I no longer have the safety of a mouse pad when I slam my fist on the table).

Let's see if I have to tape up my hand this time.

Going well so far.

I've received my PCIe eSATA card and have stripped two 500GB esataII ata's into raid 0 for a 740Gig disk. Lot's of room to handle fragments. Using a disk test tool, I'm getting about 38megs/sec on the pair (vs. 50megs/sec on my 4disk scsi array).

I captured the first hour of tape three-times. Two times for comparative tests. Using HDLink at HDV 1440 spec medium, a second time in HDLink as scaled progressive to 1920 medium. The rescale and deinterlacing took 100% processing power, and 4x the amount of time to encode. While the HDV was RT on Quad-core, (or 1.5x on a dual xeon bottom end). I couldn't tell the difference on the monitor, so I decided to stick with HDV for cuts and edits, (saving time to deinterlace, etc. for the final render).

I had to create a custom cineform HDV (1440x1080i) project, as I don't have that with Prospect, everything is scaled up 1920. Since I shot this in HDV and intend straight cuts and very little FX, I'm keeping it HDV spec (and with 8-hours of material, I don't have three-days to scale/deinterlace).

I'm now capturing HDV material in CS3 without a hiccup, using 60% processing power.

I have seven more hours of media to capture, tommorrow might prove interesting.

Just a quickie - is the deinteralcing in HDLink motion sensitive or does it just basically blend the 2 fields, therefore pretty much halving the resolution.

Otherwise, can't think of why you'd bother converting your footage from 1.33 pixel aspect 1440x1080i HDV to 1920x1080p HD.

Better off deinterlacing on final render out of PPROCS3 using a decent deinterlacing plug-in that only deinterlaces areas of motion?

That's best answered by David. I've read that capturing progressive/deinterlaced makes for the best material when end result is going to DVD. It was just a test. I agree. Keep with the format shot for edits, and then only deinterlace, etc. for the final media.

BTW, tape two is capturing well. Scene detect is working, I'm using only 60% of the chips, allowing me to do other things (such as posting this message).

Prior to capture I did get one hang up and an error due to camera drive being in a "bad state" (I'm using my XHG1 as my HV10 'deck' is on loan). Restarting the camera fixed the issue and I was able to resume.

David, that reminds me, I can access the capture settings for cineform HDV via the main menu, under 'project'. However, I get the popup with the large cineform logo when trying to changes settings via the capture panel. Clicking the logo on the popup takes me to your web page where I can upgrade to Aspect and get better performance... how much faster is Aspect over Prospect? :)

Oh-oh, things just got interesting. I captured 2nd hour of footage, cineform post process indicated 2hrs required to encode. Should have been RT.
The encoder then quite mid-ways. The last 45minutes of footage wound up being a repeat of the same clip. Some twelve copies. Strange.

I deleted the data, including the encoded files and conforms and restarted the project. This time I did not multi task. Same deal, but with a different clip and the last 15minutes of the tape (11 copies of the same clip). Watching the performance monitor, I could easily and predict the downward spikes that indicated a encode of the same clip, with PPro3 faithfully conforming each as it arrived. Some kind of looping error. I did not have this issue with HDLink. (BTW, the folks at Adobe did mention that background rendering is not possible with CS3).

I'm now capturing again with HDLink, (I did not reboot, I want to see if somethings hung up with the cineform encoder in memory, or if it's with PPro3).

HDlink captured successfully, so it's not the tape/camera/pc, etc. It's PPro3.
I'll have to use HDlink going forward. (The clincher will be what happens when I import the footage into PPro3).

Tis a shame, background rendering would've been a real plus for CS3 :( - especially if I could've set up a render farm using my laptop and HTPC as render slaves...

I s'pose if you are going out straight to DVD, then deinterlacing using a resolution-dropping method won't really hurt the final product - but I always like to keep the fidelity of the project until the very last moment... ie. TMPGEnc going from CFHD avi to mpeg2.

Good news. So far I've imported 7 hours and 4 minutes of Medium quality HD into PPro3. Some 561 clips. Importing took about 5 minutes, with thirty minutes to conform. Some clips are only a few seconds, and a few cover an entire hour. Still PPro3 chugged along without missing a beat and comformed them all.

Just for kicks, I autosequenced all the clips to one timeline, apply a CF transition as the default. Playback with overlay enabled was adequate (there is a slight buffer/sync delay with the Nvidia card -a known issue).

Clip navigation, pan and zoom on the timelines was good. Disabling the header and tail clip icons (removing the need to redraw), and timeline navigation was RT.

I am able to scrub and playback the timeline without issue. Scrubbing was very responsive. Despite that the resources climbed near double of my last huge project (which was painful in PPro2), the application remains stable.

I've started trim the clips from the bin, and the trim window is very fluid.

Another thing I noticed is that when previewing clips in the trim window, and double-clicking another clip to view, I had this issue with PPro2, where the previous clips showing up briefly before the selected clip came into full view (as if the previous clips were stuck in memory). It's working normally.

Reloading the project took about three-minutes, however there were no issues.

I started rendering a CFHD off the timeline, and noticed that the render started immediately! No waiting, no hangs. The window pops up with frames flying!

Lastly, when using two monitors and having overlay. I would have to disable the overlay in order to use the second monitor, or close PPro down. Now I just select a different running app (placing PPro in the background) and the buffer overly is release, (so I can type this message).

Well, wanna hear the big kicker? I'm using my old Dell 650 dual Xeon, which is the bottom feeder recommended system for cineform. Wait till I start cutting this on the BOXX at work!

Well, wanna hear the big kicker? I'm using my old Dell 650 dual Xeon, which is the bottom feeder recommended system for cineform. Wait till I start cutting this on the BOXX at work!

Want another kicker? I'm doing exactly the same thing on exactly the same system! Prospect + CS3 on an old Dell 650 dual Xeon (3Ghz) with a Matrox 750 card! Ha! And it's working...not fast, but working...(SCSI RAID with Cheetah's).

Too bad the 650's run on a weak 533MHz FSB!

Update:

Moving my soccer project to the BOXX quad opteron I got a little faster performance, and usage for edits and playback was about 50% (vs. 70% on the dual xeon).

In the name of speed, we've always tried to upgrade the cart, while ignoring the horses. The penalty for that has been stability. Make the cart too heavy and eventually the horses will stumble against the strain.

I don't write programs so I'm no expert, but from a working observation, it's obvious that Adobe has change the way memory is handled, and thus created a more stable application. That is, they now use more of it. With full resource utilization, the application has overcome some weaknesses that were evident in PPro2. However, this comes at a price: Image stills.

Load a single 3000px size image and the application practically grinds to halt. A work around, as mentioned on this forum, is to disable the 32bit float option in the playback controls. Still, that only improves scrubbing, and does little for rendering. Add some motion to that 3000px image and crash, crash while dragging or adding the keys mind you.

I and others have complained to Adobe about this (in regards to slow rendering as well.), Unfortunately folks at Adobe say they cannot reproduce the crashing issue and cite that it's a cineform problem. Furthermore, as of this morning, one of the Adobe's forum admins admitted that although this issue is of high importance, fixing the rendering times would only 'criple' other aspects of the program. Our only resolve is to reduce the image sizes down to 2000px or less, which BTW is good management for non-moving stills -but what if you have to PZR? Is 2000px enough creative freedom? Despite crashing, do you really want to put up with 30secs or rendertime for each 4secs of still image?

Don't entirely take my word for it. You'd have to test this out for yourself and on your own system. Also, this is just the beta or preview version, as the actual release version may differ.

My personal take is that for cuts and edits of video, a majority of what I do. PPro3 is more stable and has addressed some of my needs. For photo montages at HD resolution... well...

David, I can emagine that you and Adobe have been at odds over this.

Can you point out who is saying it is a CineForm issue? I have proven that you can crash CS3 in Decktop mode and a single large JPEG file -- nothing CineForm in that. I even had an internal engineer confirm it, so I haven't been following later threads. If they are still saying it is CineForm they need to do some more testing.

wow that may explain some BMP issues for me...

David, when did their engineer recognize that? (Maybe that's why they admitted a fix would not be available in CS3), and I've referring to past responses.
Just browse the site and you'll see several response about trying to repeat the problem X in a non-cineform project, etc. You can quickly judge the tone yourself.

Today Aanarav Sareen asked if anyone was having other issues using Aspect v5 and CS3. I explained to him about my having to use HDlink for ingest due to creating repeat clips via CS3. I asked that he should try this with an unlocked beta.

He responded that he would give it a try, however he wrote that he did not have a copy of Aspect v5! What tha? Why ask the question if you don't even have a copy of the er, uhm software to test with? I politely reminded him that a trial of P2k was available...

Read for yourself:

http://www.adobe.com/cfusion/webforums/forum/messageview.cfm?forumid=72&catid=644&threadid=1265686&enterthread=y

one question:
Add a adobe title over a cineform clip and timespeed it,with some opacity...you hit an issue on after a couple of them CF dissolve cuts?

I'll give that a try.

Still title, time remapped and some opacity, over cineform clip with two dissolves. The processors spike 100% and things stutter. What are you getting?

Same plus mem errors

So, I downloaded the vegas 7.0 trial... what? C'mon, work with me will ya?

I then loaded two identical 2500px size images into both Vegas and PPro3, add a simple transition and render the 10 second timeline to CFHD high quality, with 444 nicety. Both apps rendered their respective timelines in one minute. (So, render speed is not an issue. If I want something faster, I'd have to get a faster PC. However, stability is the issue). But something is different between the two. Vegas is using only 35% of the processors until it hits the dissolve, uses 100%, then back to 35%. Vegas also uses 1.02GB of RAM. PPro3 is using 75%, hits the trans, 100%, things stutter on the PC, goes back to 75% after the transition. It's using 1.75GB RAM. Then it gives me a low memory warning error. What's the problem? PPro3 is dipping into virtual memory? While Vegas is staying well below the 2.0GB ram. (I have 3GB ram, but not switched).

Hmmm.

Talking about Vegas (sorry guys!) - but I just HAD to try this...

Exported an AAF file for my 85 min movie from PPRO CS3 project (40hrs, 1TB of CFHD avi footage - thousands of cuts, plenty of effects applied).

Imported into Vegas... and it kinda worked!! Very surprised - I haven't done any testing - it looks like a mess... but Vegas projects look messy at the best of times to a Premiere user ;)

I 'might' be tempted to finish the video edit on Premiere and then AAF it over to Vegas for the 5.1 audio edit - as an old Sony Acid user, I much prefer their handling of audio to Adobe's.

That's the cool feature about cineform, you're not locked into just one NLE application.

Now I have two options: 1) Cut and edit photo montages and stills in Vegas, and/or 2) use some form of proxies in PPro3 for edits, and like you're finding out, AFF or EDL the project to Vegas and render from there.

I also looked into SpeedEdit, however, it refused to run on my machine.

I really don't want to break camp and drop Premiere altogether. Adobe may eventually release a point update to fix this mess, but how long until that happens? I emagine they are hustling to get the entire suite out the door very soon, and most likely this is just one issue of many.

There are other problems/crashes being reported with Premeire that I haven't experienced. I believe that most folks need to ensure they configure their PCs to run more efficiently; including the use of large scratch disks, limit the amount of background applications. Shutdown or disable un-needed services. Use dedicated video drives, and not run them on a shared buss with the system drive. Perform file maintence and defrage their drives, and often.

When it comes time to render. Then do just that and not try to surf the web, or get a dedicated second pc for that. Premiere is a fussy kid and wants a large playpen and all the toys to itself.

So, in my opinion/experience, the only real serious issue is the handling of large stills. Everything else is just minor nuisance or wish list fodder.

Enough yakking. I've got some workarounds to look into and I'll post my findings tonight.

Proxies are working.

I'm a photographer, and I need to render out a simple slide-show of some 100 high-rez photographs. 4secs each with CF transition. Simple enough? Well, PPro3 can't handle that because of memory issue. What to do? We use proxies. "But on a 100 images? C'mon. No way!"

Fortunately Photoshop CS2 has some cool tools for creating batch proxies of stills. Lets assume that I've already sorted, edited and fixed my stills in PS, saving them as high-res jpegs. I'm now ready to import them into PPro3, (BTW PS CS2 raw image importer has batch processing).

Importing the 4064x2704 images into PPro would be murderously slow, and prone to crashing. PS CS2 a has neat tool called "image processor" (look under file-scripts-image processor). This tool will allow you select an entire folder of images and do repetitive chores such as resize, change compression ratio and save to a seperate folder. Just what we need for proxies.

PPro3 does have some automatic linking capability, but it complains if you change the name, location, or size of the image -but not the compression. Linking 100 files can be very tedius. However, what if we are linking/unlinking entire folders? Would that work? Sure it does!

So I place my hi-rez images into a folder named "hi-rez", and using PS' image processor, I select my hi-rez folder, set it to save the converted images to a new folder, "low-rez", reduce the jpeg quality to lowest or "1", and keep the original image, and click "start". Sit back and drink my coffee.

At this point I now have two folders of identical images, however, thanks to compression, the images in the low-rez folder are 10% of the memory footprint of the hi-rez, and PPro likes that.

Creating a CFHD 1080i project, I import (drag and drop) the low-rez folder into the bin. I then click on the folder and select automate to sequence, accepting the default for my slide show.

However, PPro is still a little laggy. No problem, in the track settings I select view clips as "frames only", and it's smooth like butter.

I then do any additional edits as needed. Once done. I then go back to the bin, right click the "low-rez" folder, and set it to "offline", (media files remain on disk option). I again right click on the "low-rez" folder, select "link media", and in the file browser I select my "hi-rez" folder, hitting the "select" button, the folder expands in the browser revealing the contents. I merely select the first image in the folder and press the "select" button again. Because I have not changed the image name or size, PPro3 will automatically relink all images in folder to whats in the bin.

At this point, if I were to attempt a render to CFHD, the application would crash with a memory error, or crash altogether. So I choose to save the project out as an AFF. Then close PPro3.

I then open up vegas 7, set the project template to 1920x1080i HD, and import the AFF file. Walla! The images import, and I proceed to render the timeline as a CFHD. Twenty-three minutes later I have my completed movie.

Some of you might ask why not just do this in Vegas to begin with? That's not the point. I wanted to do my edits in PPro as I'm used it. I also have many older PPro projects that simply need a small fix and re-render. Many projects only have a few images. All I need to do is create proxies for them, edit as usual, relink and hand off the rendering chore for vegas to do.

Finally, we don't need vegas, any application that recognizes AFF or EDL should be able do the job. "But Adobe needs to fix this!" you say. Fine. We all agree (including Adobe :). However, I need to get work done. This method will do it.

I'm getting some freaky stuff happening with Magic Bullet Colorista and PPRO CS3/Aspect HD v4 when white-balancing footage.

- previews are going a bit haywire (noisy video and sometimes rolling picture!), but not all the time - seems quite random.

Contacted Redgiant Software who helpfully said "CS3 isn't supported until it's released"... hmmm - I won't bother helping them in the future then!

Maybe a workaround is needed.

Anyone out there been using any colour-correcting tools in CS3?

I'm more concerned with white balancing footage that's slightly off (we shot 2 camera with a Sony Z1 and an FX1, and obv the whitebalancing we did on location wasn't that good).

...and yes, Peter, I am considering exporting an AAF and doing colour-correcting in Vegas ;)

...and yes, Peter, I am considering exporting an AAF and doing colour-correcting in Vegas ;)

That settles it! Capture with HDLink, CC and Render with Vegas! Somebody tell Adobe we've fixed their problems! (I'm sure they would be glad to get the head up! :)

Okay, no idea where the issue might be, but this group is great with ideas.
I am working on encoding my HD project into H.264.
I has not rebooted all by itself w/o being complete. One of the encodings
had been running for 24 hours. Any ideas?

This is a 50 minute video. It so far did it once after 24 hours when encoding the 50 minutes. I then started a 10 minute encoding, and it rebooted.

Thanks

Dave

24 hour render? Does it get stuck somewhere, sit and spin, overheat and shutdown? Need more info on this. What's your PC specs, project type and media?

Maybe this is obvious to everyone else, but we really didn't know until we accidently output some corrections a bit ago. We discovered if you have 1920x1080p CF'ed material imported into PP3, you better NOT accidently use an Adobe color corrector (HLS in particular!) and then render and output back to CF 1920 again.

If you do, will suddenly discover that your beautiful CFed material is now all full of stairsteps and looks terrible, even though you used EXACTLY the same settings for the output.

Maybe most everyone already knew this, but we didn't until now...

LESSON FOR THE DAY: Use Prospect HD color correction unless you want to ruin your output.

QUESTION OF THE DAY: of how many other filters and corrections in CS3 is this true?

(Additional note: this "imported-into-PP3 material" was done in AE and rendered out with the newest CF HD codec at the 1920 HD) res.

This doesn't seem correct. All the Adobe filters under Color Correction should be full 32-bit float, and therefore don't introduce band like this.

This doesn't seem correct. All the Adobe filters under Color Correction should be full 32-bit float, and therefore don't introduce band like this.

I agree! It is the only one we have ever found that did that. It would be good to check it out further. I was able to reproduce it again.

It would be good if someone else also duplicated this behavior. The color filter is exactly the Adobe HLS one. We are running all the latest updates, including CF's. The CF filter for Prospect did not show that behavior and worked fine. All we were doing was taking the saturation down a little bit (15%) and used that filter. It was brought into PP3 as CFHD progressive, we applied the filter, then exported out again as a progressive 1920 CFHD.

If it's a bug, we need to know. Maybe a single color filter excaped Adobe's attention, or maybe somehow this one got installed over the top of the correct one?

That is highly unlikely, as this is a "clean install" CS3 and CF Prospect HD machine.

Hi,

I was trying to import Cineform AVI files into PPro CS3 (I have only Cineform player installed yet) and got the following error: Unsupported compression in file.

The file in question plays well in QuickTime and imports into FCP 6.0 without any problems.

Did anyone experience similar problems?

You could try rewrapping the files to .mov? I'm not (yet) a Mac-type, so I don't know for sure, but it might be worth a shot to see if that helps.

Carl

I have had to rewrap my Cineform files to MOV to get them to work on PPro CS3 on Mac. I am not sure if there is a way to get the AVIs to work.

I hope one of the Cineform people might be able to answer this one.

I have recently read that Premiere does not do color management (while AE does). What does this mean in terms of what one sees on the software monitor inside Premiere (or using full-screen overlay on a special purpose monitor) when editing and using Cineform color correction filters? What color space is being used and is there anything that can be done to make that color space useful (one would assume it already is otherwise why the filters).

My editing needs are simple, mostly just slicing and joining clips and mild color correction. For that I have felt I should not need to work with AE.

Andrew

If I remember right, you posted asking about an external monitor for use with Premiere, using a consumer LCD?

I don't believe PPro has it's own colorspace setup, however, Cineform uses the correct colorspace for the overlay.

You can specify to use the correct colorspace for your HD footage, and whether to use RGB or YUV for the overlay.

Carl

Hi Carl

Yes you're right I was asking questions about monitor options. That is encouraging what you say about overlay with Cineform, so does that mean Cineform is determining the color space in Premiere's timeline preview displays.

Andrew

That is my understanding, yes.

Thanks. I'll give it a try.

I am having trouble matching the video quality of my MPEG files to the quality of the videos creating using Cineform AVI movie in Premiere CS3. Is there a problem with the Encoder output option and Cineform? What is the solution? The I lesser quality outputing Flash, WMV, or MPEGS in Encoder. I am guessing that all output using Encoder has quality issues for Cineform presets.

I have even tried importing the AVI file that was used to create the DVD back into Premiere and still got the same results.

The quality of the AVI video which was used to create the DVD was perfect.

Any help would be great..
thank you, richard

Work with support, www.cineform.com/support, as your post is not clear what you doing. Questions: "Encoder" and your talking about "Adobe Media Encoder", quality are you talking compression, motion, or interlacing artifacts? CineForm presets have no impact of the quality of the various output option in Premiere, the two aren't connected.

Sorry for the confusing email.

I guess my question would be what would cause a quality difference between Premiere->Adobe Media Encoder->MPEG DVD and producing a DVD by importing an AVI that was exported using Cineform AVI. Now the MPEG DVD encoding from Adobe Media Encoder was based on the same Cineform AVI video. I notice that the video is clear and crisp on the DVD (VOB files) compared to the MPEG DVD file generated by Media Encoder. For example, the line in the "A" letter would be harder to see. What would cause the difference? Is there a way to see the bitrate settings Adobe Encoder used?

Also, what is the best workflow when producing Flash files with Cineform? Squeeze?