The TV is a JVC I'Art and is not widescreen. As most of my stuff is broadcast on the local access channel, I use it to check titles, and get a better idea of what it looks like on TV.

I do make copies on DVD for distribution, but for broadcast, I output to tape. (back to Mini DV)

I'm using PPro 1.5 and I did do a search, but didn't find an answer that fit my particular question. I'd hate to have to resize every clip especially since I'm just guessing at the correct size.

Anyway, thanks for the reply. It's good to know there are people out there willing to help, even if I find out I can't do what I want to do. ;-)

Dan

Dan,

You might want to check the manual for your TV to see if it has a feature to letterbox widescreen content. Looking at the JVC web site I see that some of their analog TVs have this feature. Being a smaller model, though, there is probably less chance of this feature being included. Doesn't hurt to check, anyways.

EDIT: By the way, so you have a better idea of what to look for, JVC is calling the feature "16:9 Anamorphic DVD Mode."

how do you set up an external monitor (i.e. a TV!) for use with premiere pro? i would like to use a CRT TV to preview footage.

specifically, i would like to know what kind of connecting cable do you use? i understand the cable needs to go from the video card to the TV, but how does it attach? scart cable? do you need certain drivers for it to work?

ps i am in England, therefore PAL

Hi Jon,

If you have a hardware accelerator card i.e. Matrox RTX100, Pinnacle DV500, Canopus etc then you simply hook up your monitor via the RCA phono connections (Composite + L&R audio) or via S-video + Phono L&R audio on the braekout box.

If you only have a SCART connection on your TV then you need a Phono to SCART adapter (about £5).

If you don't have any hardware acceleration (i.e. you are running in software only mode). Then you can connect your DV camera (provided it is able to do analog pass-thru)to your firewire port (Make sure the camera is in VCR mode) and then connect the analog outputs on the camera (S-video, phono etc) to your TV. You also need to make sure that Premiere is set to Preview via firewire.

Hope this helps!

Ps nice to see a few more guys from the UK!

Pro 1.5

Not exactly what you asked but relevant to the project trimer feature.....

I don't recommend running the project trimer feature unless you are absolutely sure you are done with video editing. If you have to go back and adjust clips your screwed if there is not enough video left either side of the clip.

Regards,

Mark

Hi Everyone
I am looking for an all around video encoder software. One that will convert other video files to AVI or AVI to other video files. I use Premiere Pro 1.5 and sometimes I run across a file that PPro won't accept. I did a search on Google and came across this product.

http://www.sofotex.com/Easy-Video-Converter-download_L12496.html

Easy Video Converter. Sounds as if it will do all that I would like. However if anyone knows of a better software please let me know. Thank you for your help

Harry

Thanks for the tip sir.

Well Procoder is very high quality and very powerful, but it's nearly 20X the price of the software you've linked to - ouch!

http://www.canopus.us/us/products/procoder2/pm_procoder2.asp

Depending on what it is you want to open and recode, you may find Virtualdubmod helpful. It's freeware and can open mpeg1, mpeg2 and vob files, in addition to various flavors of avi.

http://sourceforge.net/project/showfiles.php?group_id=65889&package_id=63653

My tutorials are available online for $25 per month. You can probably get After Effects, Photoshop and Premiere Pro all in the same month and then cancel if you plan it right.

http://www.lynda.com

I would reccomend using Procoder Express. Costs about $60 and it is excellent.

Wow!!!
Lots of info on this site....thats what I was looking for.

Thank you Mr Gotz.

Steve

Darn it!

I've used the Mackie with a trial of Vegas and it works superbly but I think I'm right in saying it's the only NLE in its price class that does support it. I'm currently deciding which package to get and I'm pretty surprised that support for these kind of surfaces seems so rare. I know that Adobe Audition offers support, which in turn leads me to ask if anyone finds the Audition/Premiere workflow a smooth one, or is it a pain switching between two programs?


Ho hum..
Thom

I cannot believe the trouble I'm having in getting a straight answer on how to capture from the GR-HD1 into Premiere Pro 1.5.1? Can someone please give me a hand?

Hi Andy. Some details would be a good start. Where are you at and what is wrong? Have you gone through the Adobe support and followed their steps?

Pardon my million questions to follow:

I understand the concept of progressive vs interlaced, but have a question regarding work flow...

I've been told in the past to capture non-interlaced and save interlacing for the final render...But if I shot in 60i and capture non-interlaced, does that work? I'm pretty sure it doesnt from my recent tests. So does that mean I should shoot originally in 30p and then export to 60i in final rendering in post?

In premiere pro theres a plugin for 'deinterlace'- cant remember the exact name of it... field interpolation? Whats the point of that?
I know for editing, special fx, and titling purposes, having no fields is ideal...but... I'm still confused.

When making files for a DVD--I've heard that having progressive footage makes for better compression results... My question is, should I use fields for final output to DVD? Does DVD inherantly have fields, or are most DVD's progressive? If a tv cant play progressive footage (since its inherantly based on fields)how does a progressive dvd play on a tv? Is it only possible through having a progressive scan tv or a digital connection?

And ultimately: Should I shoot in 30p over 60i for a DVD and/or Music Video release

I'll leave it there for now. I pretty much just need some clarifications to my current understandings... If I have made any incorrect assumptions in the above please correct me!

Thanks~
jeffGeissler
www.j-geissler.com

Hi Jeff,

We have a dedictated forum for Premiere and another one for DVD. Try breaking your post into separete chunks and put them in those specific boards. Hope this helps,

Jeff, to answer some of your questions.

You CANNOT capture DV (!) in either interlaced or non-interlaced.
It is captured AS IS, ALWAYS!

However, you have two options to set:

1. your project properties (either interlaced or progressive)

2. your export settings (same)

My rule of thumb is to keep everything in the same format throughout
YOUR ENTIRE workflow.

Decide whether you need/want interlaced or progressive and
stay with that. Generally you want interlaced only for news or
"real" looking footage or when your stuff gets broadcasted.

For other work almost everyone else seems to stick to progressive
(ie fictional work and perhaps documentaries etc.)

So if your end result should be interlaced then shoot in interlaced
and have Premiere setup to interlaced. Export an interlaced DVD
as well.

If you want progressive shoot in progressive, edit in progressive,
export in progressive and make a progressive DVD.

Hi Jeff,

Since your questions are more "focused" on Adobe PPro tasks than on the XL2 in particular, I've moved your post over to the "Attend the World Premiere" forum, where you'll get more visibility.

If you have yet to start shooting your project with the XL2, Rob's advice is rock solid...shoot whatever you want your final output to be: 60i, 30p, 24p. If you already have the footage, is it 60i, 30p, or 24p? And what is your preference for how it will end up on the DVD? Here is a thread on DVD that might help a little:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=36487

and here is page 3 of an interesting thread on 24p that I think might still be helpful even if you are shooting 30p:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=34606&perpage=15&pagenumber=3

plus an incomplete thread on 24p fields that might help as backgrounder info:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=40508

Briefly before I leave for work...for output to DVD, you can also use 60i, 30p, or 24p. 60i (60 fields/second shot at a 1/60th interval) and 30p (60 fields/sec with both fields of a frame being shot at exactly the same time) both have 60 fields/sec recorded to the disc and are handled identically...each field is displayed in its 1/60th of a second. 24p footage is recorded as 48 fields a second with "Top Field First" and "Repeat First Field" flags encoded into the appropriate frames to do a Pull-Up (or is that a Pull-Down?) that any DVD player can read to re-create 60i for display on a standard TV set.

The field blending is a method of converting interlaced footage to progressive. There are a number of ways this is done. The simple way (which I believe is what PPro uses) is to throw away one field of a frame and just interpolate between the scan lines of the remaining field to replace the thrown away field. That naturally results in resolution loss and ideally would be avoided by shooting progressive if that's what you'll want in the end.

So let us know more about what your project and we'll try to fill in the blanks!

Where am I at? I've got the camera hooked up to my system via firewire with the capture window open. I've tried every combination of settings I could think of and yet have not captured a thing. The device controls work just fine but no image shows up. Regular DV capture is no problem but as soon as I switch to HDV capture the line on the top of the window switches to "Device offline". I have made attempts with the iLink set to both DV & MPEG2. And yes, I have been to the Adobe discussion boards and they sent me here. All that they're telling me is that the Cineform plugin makes things better but PPro 1.5.1 ought to be able to do it on it's own.

Thanks everyone for your help. Looks as if procoder Express is the way to go. Looks as if it will do all that I want.
Harry

SP2 installed?

Hey guys, thanks! I didnt quite know where to post, so I appreciate you puttin it where it belongs ;)

I shot in 60i. And its going to DVD.

So if I take the native interlaced footage into After effects, I want to render it back out with fields, correct? (So that any text etc will be interlaced as well...) Hope thats not a diffrent 'forum' question, heh.

Thanks for the clarifications thus far!

Great community, I love it.
~jeff

This may be a late post for this thread, but I wanted to share a great little tip I discovered during my last multi-cam project. In Premiere, correct one of the clips as Glenn mentioned. Now, copy this clip to the clipboard. Right-click on another clip which needs correction and select "Paste Attributes." This will let you copy just the filter settings from the previous clip. Repeat for all remaining clips requiring correction (i.e. use "Paste Attributes Again").

Maybe they've come up with a better method for Premiere Pro (I'm still on 6.0 -- holding out as long as I can), but this was a huge timesaver for me (three cameras all requiring different correction and over 100 clips on the timeline).

Sorry, I sent him here. I am a Sony owner and I figured you guys could help him better than I.

Is there something he needs to do, maybe in the camera, besides set the Premiere Pro capture to "HDV Device"?

Make sure the camera's MPEG/DV control is set to SW (in the menu) and the external switch is set to MPEG before connecting the camera (and before starting Premiere.) If XP service pack 2 is installed the drivers will automatically be recognized, otherwise the camera drivers take a lot of work to install (please install SP2.) Now Premiere 1.5.1 can be started and select the 1280x720 HDV editing mode. At this point capture should simply work in HDV mode.

<<<-- Originally posted by Rob Lohman : Jeff, to answer some of your questions.

You CANNOT capture DV (!) in either interlaced or non-interlaced.
It is captured AS IS, ALWAYS!
-->>>

When I set capture settings in Premiere there is an option for 'upper' or 'lower' or 'none' field capture. What is DV's native interlace setting? Why would someone set it different then?

Sounds I'm overconfusing something thats not so complicated. So just a little more clarification and I think I'll get it...

DV is lower field first. Here's a thread that covers field order:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=36380

What I think Rob is getting at is that capture just adds an AVI (or QT) "wrapper" to the DV data stream that is captured, but the datastream itself is not changed. Therefore when you capture DV footage, it will be interlaced, lower field first. Once on the timeline in PPro, you can choose to field blend and/or export to a file format that allows true progressive images. But the interpretation required to create the progressive frames will result in at least some resolution loss.

If you've shot 60i and intend for it to be transcoded and burned to DVD in 60i, I think most folks would agree that you'll want to keep your entire workflow 60i. When you transcode to MPEG2 for authoring the DVD, the Adobe Media Encoder that all the Adobe applications share will default to the correct field order (someone correct me if that's mistaken). You could even go to 24p, but again, with some resolution loss due to field interpolations.

Hi,
The issue that i am having is that i cannot capture more than 55 mins of footage in Ppro1.5

I used batch capturewith had 1hr 2mins, of total time and it only captured 54mins.
then i used Capture Tape button and it captured only 34mins.
I didn't get any erros msgs or nything, it simply said capture is complete.
...and I have enough hard drive space.

Any suggestions? or is there a limit in Ppro?

I've only been using Premiere for the last 2 weeks, so i'm somewhat of a beginner. I'm also fairly new to videography in general. I just recently started using a VX-2000 that was supplied to me. I shot alot of video, and it came out very nice, but it is very white. My questions are:

1) In the future, how wouldi lower the whiteness on the vx-2000?
2) Now that i have all of this white material (it's not so bad, but it is somewhat annoying), how can i make it look more presentable and professional in Premiere, using the basic tools (as in no plugins)

Also, another question:
I used autofocus on the camera. When shooting some interview scenes shot outdoors, the interviewee and the background both recorded in full focus. I would like the trees in back of the interviewee to be a bit out of focus, while the interviewee is in focus. Is there any way i can accomplish this in premiere?

No, there is no limit as long as you have the harddisk formatted
in NTFS. Since you could capture 55 minutes this seems to be
the case.

This sounds like it may be dropping frames and thus aborting
the capture.

Have you updated 1.5 to the latest update/patch available?

What operating system, harddisk, memory are you running?

Hello Andrew, welcome aboard (H)DVinfo.net!

Your first question belongs in our VX-2100 forum, but it sounds
like you overexposed. Learn to control your camera in manual
mode. Practice practice practice is the only way you will ever
truly get a feel on how things work and will look. We all had to
learn and practice!

Which version of Premiere do you have? Almost all versions come
with some level of image control. Look at constrast, brightness,
saturation and gamma (curve) controls.

Later versions include the more powerful color correction tools
with color curves and secondary color correctors etc.

However, don't expect magic. This takes time and practice as well
and will only change what is in the image. If you have blown out
highlights you will never be able to recover that information since
it is simply not there in the first place.

The best you can do is enhance an image or remove/hide certain
flaws etc.

This is my system setup:

Windows XP Professional 5.1.2600 (WinXP Retail)
Intel Pentium 4A, 2566 MHz (19 x 135)
Asus P4B533 (6 PCI, 1 AGP, 3 DIMM)
Intel Brookdale i845E
Matrox Graphics Millennium G550 AGP (32 MB)
Creative SB Live! Sound Card
Standard Dual Channel PCI IDE Controller
A347SCSI SCSI Controller
HPT372A UDMA/ATA133 RAID Controller
WinXP Promise Ultra133 TX2 (tm) IDE Controller
Floppy disk drive
WDC WD800BB (74 GB, IDE)
WDC WD800JB (74 GB, IDE)
WDC WD800JB (74 GB, IDE)
WDC WD20 00JB-00GVA0 SCSI Disk Device (186 GB)
HL-DT-ST DVDRAM GSA-4163B
SONY DVD-ROM DDU1621 (16x/40x DVD-ROM)
2x 512 DDR
Realtek RTL8139 Family PCI Fast Ethernet NIC
1394 Net Adapter
DVStorm-RT

Have you updated 1.5 to the latest update/patch available?

Not yet, i heard i don;t need the updated since its aimed at HD production work.

Forgot to mention that i also have another
WDC WD20 00JB-00GVA0 SCSI Disk Device (186 GB)

Hey guys,

Just go premire today, and its awsome. One problem i need to get sorted out, when i capture HDV from my Sony HDR-FX1 camera, after about 5-10 seconds of footage (after captured) the video has pure green artifacts, and it appears to go at superfast motion. It becomes completley un-usable footage, I have tried with scene capture on and off to see if that was the problem but its not.

CPU specs:
Windows XP
AMD atholon XP 2800 (2.09ghz)
ATI Radeon 9800pro 128mb
1024mb RAM
114gb hardrive (50gb open)

help?

As much as I like Premiere, I always hated it for capturing. Fortunately, I also have DV Storm. It's much nicer. Didn't your cam come with some software? Other than that, you might try Adobe's site for some new patches and updates.

Does this happen with every tape or with only one specific tape?

so far, this happened with with last 3 tapes.
and i have been using same brand for some time.
This also happens when i use non-dropframe playback and capture settings.

I don't get it, why won't it capture the last 6 or 7 minutes of the tape?

its HDV...there isnt much out there. And no, it doesnt come with software, because its HDV..................

Ok. Lets try a couple of things then:

1. Fast forward your tape to 50 minutes and try capturing the last 10 minutes. Does this work? If not, then it is more than likely a Canopus problem.

2. Try capturing the last 10 minutes via the ScLive trial (http://www.scenalyzer.com) If that does not work, then try the next step

3. If your computer has regular firewire ports, try capturing the last 10 minutes through them.

Brandon,

Your machine is under the min spec required by Adobe. This might be (part of) the problem.

I recommend that you download Aspect HD from CineForm and use the capture app that is part of this app called HDLink. (HDLink works outside Premiere, although you lose batch capture capabilities). On underspec machines it is useful to do a two-pass capture with HDLink. 1) Capture the TS stream from the camcorder, and 2) in a second pass convert the stream into the CineForm avi needed by PremPro. (HDLink allows you to do the capture as a single capture/convert step or use two separate steps.) They offer a 15-day free trial.

If you decide you aren't interested in the other performance features of Aspect HD, HDLink is also part of Connect HD, but without the RT PremPro features.

David.

Adobe Audition does have mackie control support and integrates with Premiere Pro, but PPro doesnt have direct support.

We recently did our first project with green screen. We lit the screen correctly, kept the talent 8 feet in front of the screen and lit her correctly. We did the editing in Premier 6.5 using some scanned photos for background.


The video looked great and the pictures were good as well. In a couple of spots there is still a small amount of green bleeding (the edge of her hand, forearm etc.) When we tried to adjust in Premiere the video became too transparent.


We've read and looked at the "Ultra Key" program, which claims to solve this problem. Also, we've heard that keying is easier in Premiere Pro.


Does anyone have experience and know what our best solution would be?


Thanks in advance,


Bruce Yarock

IMO Premiere/PPROs keyer lacks in numerous areas. I have used many NLEs and PPRO probably has the worst keyer. If you have AE, then I would reccomend using AE for keying as it is a lot more flexible. I don't have any experience with Ultra, but from what I have seen and heard, it is great

I haven't used Premiere 6.5 in a long time, but is there any sort of Matte Choker or some kind of choke effect you can put on there? That will help reduce some of the green artifcats around your subjects. Also adjust the green hue on your subjects if there is any green reflection off the screen. Hope this helps a little.

<<<-- Originally posted by Bruce S. Yarock :
We've read and looked at the "Ultra Key" program, which claims to solve this problem. -->>>

Did you go through the online tutorials for Ultra? The settings can be confusing.

We tried to use the online tutorial a while back, but had some problems.We'll try again.
Thanks for the idea.
Bruce yarock

Yup, I can capture the last few mins of the tape without any problems.
And I used Canopus' DVCapture, and was able to capture the whole tape without any problems.

Hi, my sister is wanting me to make a video montage for her science class. She wants to have footage of various movies and such relating to vegetables. I told her that this may not be possible without After Effects, but I simply don't know. Would I be able to do this in 6.5 or will I need to upgrade to Pro and After Effects?

Video:

[ 1 ] [ 2 ] [ 3 ]
[ 4 ] [ 5 ] [ 6 ]
[ 7 ] [ 8 ] [ 9 ]

Are you wanting to show multiple videos in a grid (each one of your numbers would be a different video) all playing at the same time? That kind of effect should be doable within Premiere.

To do so, use the motion control to resize the video to 33% (for a 3x3 grid) and move it to the proper location. Set the start and end positions to the same settings. You may have to play with the transparency settings to keep it from filling the rest of the frame with a solid color (blocking underlying tracks). Repeat with each clip, placing them onto separate video tracks.

I don't know how 6.5 fares, but save often in 6.0. Most of my crashes have occurred while doing stuff with three or more video tracks. One of these days I'll upgrade, but so far I've been able to get by.