Yeah, I'm wanting to do a grid and, yes, I'm using Premeire 6.5. Ok, I think that'll do the trick. Anybody else have any possible suggestions? Because I know how there are sometimes multiple ways to do something within Premeire.

OK, I followed all the instructions to the letter and it still isn't working. I now have full transport control while in HDV capture plus audio but can only see a green screen when HD footage is being played on the camera. Any other suggestions?

If you have the same problems with Aspect HD you can file a trouble ticket at www.cineform.com/support, otherwise you will need to contact Adobe (sorry I haven't heard of this fault.) If you download the Aspect HD trial you can also capture with HDLink.

what are the minimun computer requirements for playing an avi uncompressed video?
I put this question because when I export to avi uncompressed (full frames) I get a "paused" playback.
Thanks for your answer.

FYI to all,

There is a multi-language update to After Effects posted on the Adobe web site that is purely a bug fix. Current version is now 6.5.1.

Also, I see that a new version of Creative Suite is out: all apps in the suite, except the recently released Acrobat 7, are "CS2" now.

Not released or available. Merely "announced".

Should be shipping the new suite in May.

Quite so. It can be ordered now directly from Adobe and it will be "shipped by May 2005." Fry's Electronics in South Houston this morning is still selling the CS version...probably a few weeks before CS2 software hits retailer shelves.

FWIW, it looks like there are some nice enhancements from the quick look I took at the web site this morning, but didn't really see anything revolutionary, either.

I'm using a PC with PremPro1.5
In college I remember being able to capture in .mov format vs .avi--but now I dont see the option to capture dv footage in anything other than .avi

I prefer using quicktime over any windows based file stuff...

Is there any major difference between .mov and .avi (other than obvious platform relations)...?

Should I feel comfortable capturing in .avi? I intend switching to mac somewhere down the line....

Is it possible to capture .mov ?

any tips/pointers/clarifications are appreciated
~jeff
www.j-geissler.com

If you can capture it good with other tools it sounds like a PPro
problem. Again, make sure you are running the latest 1.5 update.
If that doesn't help it sounds like you are stuck capturing with
an external tool....

The main strain is on your harddisk, you can easily calculate the
rate yourself, like this:

resolution x 3 (bytes per pixel) x framerate

So:

(720 x 480) x 3 x 30 = 31104000 bytes per second

31104000 / 1024 = 30375 kilobytes (KB) per second

30375 / 1024 = 29.66 megabytes (MB) per second.

So for NTSC @ 30 fps you are looking at 30 MB/s. Not a lot of
harddisks can really sustain such rates etc. You will probably
need a RAID (striped) array to get this playing normally.

However, mostly this is just used to go from one program to
another etc. Not playback.

I don't think its possible to capture to .mov with PP1.5.

In terms of quality between mov and AVI there should not be any! Everybody on a PC platform will generally capture to AVI.

You can always export your movie to MOV if you need to view it on a mac.

cheers,

There are also lots of DV conversion tools out there that can
convert between one DV format and the other. From AVI DV,
to QuickTime DV, or just plain .DV etc. etc.

Capturing to AVI DV or MOV DV would be the same thing, they
are both just container formats encapsulating the DV stream.

You should also be able to output to a .MOV DV file with Premiere.

hi all,

my next wedding is my first wedding i'll be doing using 2 cameras simultaneously (2 angles)

i'll be using 2 x PD150's in DVCAM mode using continuous timecode (the one that keeps running even when the camera stops recording or is switched off) obviously matching the 2 cameras timecode precisely before we shoot.

can premiere read the DVCAM continuous timecode when editing? also is there a way of capturing the footage in the NLE then having it lay it out for you automatically on the 2 tracks on the timeline? (because one camera will be start-stopping doing close-ups etc) so basically the gaps in the 2nd camera will be shown in the 2nd track also (i hope this makes sense)

also can premiere view both camera tracks in 2 monitor windows simultaneously so you can see both cameras at the same time?

obviously i'll be only using the main cameras audio & the 2nd camera's audio will not be used when editing.

any advice on doing this would be appreciated & if there are any better ways on doing this please do let me know....

thanks....

thanks guys. I knew I could export to .mov from avi...

I'm sure this question has been asked before- but if you rerender DV footage, lets say 3 times, does it recompress 3 times or does it just change anything you've done to the footage?

Thanks for the clarifications.

and another quick question:

Is .avi readable from most macs?

I think in this day and age a Mac (OS X?) can indeed read the DV
AVI files, or you can install something easily to get that supported.

A good NLE should only re-compress frames that have actually
changed, when you have straight cuts it should just put the
compressed frames back to back in the new file.

I'm not sure if Premiere actually does this when going from AVI to
MOV, however, most 3rd party tools who allow such conversions
do this without re-compression.

Anyone heard anything/rumours about updates to the Video Collection anytime soon?

hi kent,
i'd like to know of any updates too as i'm considering buying the collection too in the next month or two...

I use uncompressed AVI almost exclusively. I was using a P3 733Mhz with 512MB SDRAM, and ATA/100 drives. I had my computer highly optimized (booted up Win2K using only 50MB RAM, or so. I was getting slightly choppy playback. However, if I did a clean boot and wasn't running anything but Premiere, it would play smooth.

Now I have a P4 2.8Ghz with 1GB of DDR2 memory, with a SATA drive. Also optimized running XP now with very little else going on. Very smooth, can even get away with some real time effects. Working in 24p instead of 30 or 60i means fewer frames to load off the disk, too.

Adobe released its creative suite 6 months before the video collection and estimating from their current release of the creative suite, looks like we might be seeing an upgraded version within 6-8 months

You know you're probably right on that. That stinks. Why would they put back to back marketing announcements out. Oh well, I guess I'll be waiting another 6 months. Encore really needs to be updated and Premiere is lacking in a number of places.

I'm not sure about DVCAM in continuous timcode, as I've never worked with it.

But assume the situation where you have scenes where timecodes between the two cameras aren't synced. Say you have

one scene that is 15 minutes long on two cameras. The workflow I suggest (without using additional software like

United Media's multicam) is from Jacob Rosenberg's Total Training DVDs (http://www.totaltraining.com). The workflow

may be in his book, Adobe Premiere Pro Studio Techniques

(http://www.overstock.com/cgi-bin/d2.cgi?cid=54554&PAGE=PRODUCT&PROD_ID=893611&fp=F&siteID=oP5Nuw5q6fc-cgw.td696ytuj

ow9RntvZw&cid=60488&fp=F).

Put both 15 minute scenes in a sequence's timeline, one in video 1 track, other in video 2 track. Make sure they

are synced from the start, either using visual or audio cues. Also make sure the clips begin where you want them in

the timeline (set their in point to start in the beginning of the sequence.)

Select the Video 1 track (1st angle) by clicking on the Video 1 track box that precedes the actual track. From the

timeline, move the current-time indicator (CTI) to, say 8:00 in the timeline. Press T (or double click on the clip)

to *Match Frame*, where the source monitor matches the timeline monitor. Then go to File, Timecode, and type 8:00

and select "current time/frame". Now in the source monitor, the source footage timecode(1st angle) will match the

timeline timecode.

Select the Video 2 track (2nd angle), and repeat the same process (you can start at 8:00 or whatever). You have to

perform the match frame process, then change the timecode in your premiere project.

To double check, scrub to random spots on the timeline, using both video tracks. Press T, and make sure the source

footage's timecode maches the timeline's timecode. So 5:00 on both v1/v2 match the timeline, 10:35, 14:00, etc...

This way, you can use 3 point editing to set in/out points on the timeline monitor (say you set the in point on the

timeline for 6:30, and the out point for 6:45.) You can select either the 1st or 2nd angle (or n angles) in the

source monitor, and set the in point for 6:30. Overlay the source footage by pressing comma (period does insert),

and it appears on the timeline.

Match frame (in premiere pro) and 3 point editing (I think common to most NLEs) are hard concepts to explain here,

so I can imagine you easily confused :) There is also multicam software by United Media, although I've never used

it.

http://www.unitedmediainc.com/products/

I'm not sure about DVCAM in continuous timcode, as I've never worked with it.

But assume the situation where you have scenes where timecodes between the two cameras aren't synced. Say you have one scene that is 15 minutes long on two cameras. The workflow I suggest (without using additional software like United Media's multicam) is from Jacob Rosenberg's Total Training DVDs (http://www.totaltraining.com). The workflow may be in his book, Adobe Premiere Pro Studio Techniques (http://www.overstock.com/cgi-bin/d2.cgi?cid=54554&PAGE=PRODUCT&PROD_ID=893611&fp=F&siteID=oP5Nuw5q6fc-cgw.td696ytujow9RntvZw&cid=60488&fp=F).

Put both 15 minute scenes in a sequence's timeline, one in video 1 track, other in video 2 track. Make sure they are synced from the start, either using visual or audio cues. Also make sure the clips begin where you want them in the timeline (set their in point to start in the beginning of the sequence.)

Select the Video 1 track (1st angle) by clicking on the Video 1 track box that precedes the actual track. From the timeline, move the current-time indicator (CTI) to, say 8:00 in the timeline. Press T (or double click on the clip) to *Match Frame*, where the source monitor matches the timeline monitor. Then go to File, Timecode, and type 8:00 and select "current time/frame". Now in the source monitor, the source footage timecode(1st angle) will match the timeline timecode.

Select the Video 2 track (2nd angle), and repeat the same process (you can start at 8:00 or whatever). You have to perform the match frame process, then change the timecode in your premiere project.

To double check, scrub to random spots on the timeline, using both video tracks. Press T, and make sure the source footage's timecode maches the timeline's timecode. So 5:00 on both v1/v2 match the timeline, 10:35, 14:00, etc...

This way, you can use 3 point editing to set in/out points on the timeline monitor (say you set the in point on the timeline for 6:30, and the out point for 6:45.) You can select either the 1st or 2nd angle (or n angles) in the source monitor, and set the in point for 6:30. Overlay the source footage by pressing comma (period does insert), and it appears on the timeline.

Match frame (in premiere pro) and 3 point editing (I think common to most NLEs) are hard concepts to explain here, so I can imagine you easily confused :) There is also multicam software by United Media, although I've never used it.

http://www.unitedmediainc.com/products/

Submit feature requests while you still have a chance.

the video card has one 10-pin video-out port, not a video/l-audio/r-audio. what cable attaches this to the tv? do you need a scart/whatever convertor?

Hi all,

I'm thinking of buying the Adobe Video Collection Academic (as i'm a student) & have a few burning questions.

1: What is the quality like of the DVD encoder built into Premiere Pro 1.5? Does the collection have a better encoder?

2: Is there any difference between the AVID & Premiere encoders, both for DV & DVD? I ask this as the editor at my station said the old Premiere 6.5 software had problems with artifacts, blockiness, etc but AVID generally did not. But he wasn't sure if the Premiere Pro 1.5 software was better now.

3: Does Premiere 1.5 support HDV like the Sony Z1? Can it capture direct or does it need a plug in?

4: When editing in Premiere, do you have to render the project if you dont use any filters, titles, etc? Say if you're just cutting & re-arranging clips.

5: If i wanted to use a DVD encoder like Canopus Procoder, do I have to create an .avi file & then load it into Procoder or can I just load a project file into it?

6: Is the Adobe Video Collection missing anything or are there any issues to know about? The things i'm using it for are weddings & documentaries.

Thank you!..

1. Premiere Pro/Encore DVD both use the MainConcept MPEG-2 codec, which is the same one used in Discreet cleaner XL, Sorenson Squeeze, Sonic DVD Producer, and Ulead DVD Workshop. There's no other MPEG-2 codec included in the Video Collection that I know of. Personally, I can't tell you how the MainConcept encoder stacks up against other MPEG-2 encoders, as I haven't compared them. But from the products it is included in it looks to be among one of the better ones. (See http://www.mainconcept.com/company.shtml.)

2. I can't answer this, as I don't know what MPEG-2 encoder Avid uses. It may depend on which Avid application, as well. Which Avid program were you looking at?

I haven't noticed any artifacts/blockiness in the little bit of encoding I've done so far. I would imagine the encoding technology would have improved in the years since Premiere 6.5. Again, look at the list that use the MainConcept codec now.

3. Adobe just released a free update that adds HDV support. It can capture direct into Premiere.

4. No, you shouldn't have to render.

5. You would have to create an .avi file.
EDIT: Just discovered that Canopus says ProCoder has an export plug-in for Premiere Pro, so it looks like you could export from within Premiere using ProCoder.

6. I'm not sure what exactly you mean. The only thing I can think of is that if you want full use of the Dolby Digital 5.1 encoder you would have to pay $300 to unlock it. But you probably don't need to mix surround sound for the weddings and documentaries you'll be doing, and would find the included Dolby Digital stereo encoding sufficient.

The only thing I would add is make sure you have a beefy system (check the recommended system specs). Premiere Pro uses all the speed you can throw at it.

Hi Jon,

I never heard of a 10 pin video out port???

You do NOT use your computers graphics card to display the picture on your TV.

Normally you either go though your camcorder or you use a hardware accelerator card, as explained in my previous post.

Can you give us details on your setup, i.e. computer hardware specifications, with details about manufacturer and model for each PC component.

Hope this helps a bit.

The Avid Xpress Pro Features page (http://www.avid.com/products/xpresspro/features.shtml) lists the "Full version of Sorenson Squeeze Compression Suite for Flash output, DVD compression and more." So it looks like you'd get the same MainConcept MPEG-2 codec regardless of whether you get the Adobe suite or Avid. Note that if you buy the educational version of the Avid software you don't get the third party software (Sorenson Squeeze, Sonic ReelDVD LE, etc) that is normally included. See http://www.avid.com/products/xpresspro/faq.shtml.

I just wanted to compliment Christopher on his detailed and accurate response. I can't fault the tiniest part of an answer. Very well done.

And then he follows up. Very cool.

I spend a lot of time on forums, this and others, and I answer a lot of questions. Christopher might just inspire me to answer more completely than I have been lately.

I am editing in Premiere Pro like I always do after I have just moved into my new office.

My setup, audio one: left channel is a lapel mic, right channel is a handheld mic, audio two is my camcorder mic.

Audio two is a WAV file, audio one is attached to the video.

When I import the video into PP I can hear both channels no problem, but when I try and break out the left and right audio channels into mono clips the audio becomes silent

And by silent I mean I didnt know there was even audio left untill I turned the gain up to 40db then i could hear a terrible muffled voice from the original sound, which was perfectly audible as a stereo clip.

This only happens when I try to turn the stereo track into two mono tracks, by 'filling right' and 'filling left' respectively; If i turn off the effect the problem is solved. Similarly, if I "breakout to mono clips" the audio also becomes silenced.

The tracks are enabled, the audio works on stereo clips, and the track levels show up in the audio mixer as if it were playing audio you could hear, I just cant hear it.

Any ideas? Troubleshooting? I'm against a wall, and my editing is sort of at a standstill today.

I would recommend using a separate piece of audio editing software to do this. Adobe Audition is great, but even a more simple free program like Goldwave can probably do this. Copy each channel of the stereo track independently and paste them into separate mono files. Save each one independently and import them as two separate files. This is probably the easiest and most effective way of doing this. Hope this helps.

Its working now, for reasons unknown... I dont think I did anything in particular, but all the mono clips sprang back to life.

But yes I think I will do that in the future, Premiere seems a bit finicky now.

Steven,

Thank you for the kind words. I appreciate them.

James,

I missed the part about the DV codec. Hopefully someone with more knowledge can help on this one, but it's my hunch that unless effects are applied/rendered it doesn't make much difference. After all, the transfer from DV camcorder to computer is bit-for-bit.

I do remember something I read about a comparison between the Avid codec and another one, which may have been Final Cut Pro. If I remember correctly, the Avid codec gave a slightly softer image while the Apple codec emphasized edges more. Basically it was a matter of preference.

The DV codec Adobe chose for Premiere Pro is from MainConcept.

And I can't tell if it was DV or MPEG-2 blockiness the editor at your station was referring to from your post, but if it was DV then I think he was mistaken. I can't believe Premiere users would have put up with the application if it was that bad at DV editing.

Hope this helps.

hi chris,
thanks for the detailed reply...

in regards to question 6, i meant to say do you need to buy any additional plug-ins, software or hardware to do the types of editing i mentioned. it seems the adobe collection is pretty complete. i have premiere 6.0 & like the layout & features of it so i want to upgrade it now i'm doing more "professional" work.

i downloaded the trial of premiere pro 1.5 but only got to use it a couple of times as i went away for a while during the 30 days of trial! from memory it was reasonably similar in interface to prem 6.0

now my next questions are regarding what PC set-up/hardware etc to use for it but i'll start another post regarding that one.....

I'll put in my two cents worth here. The package is complete. You don't need anything else (except perhaps the Dolby Digital 5.1 encoder ).

Having said that, there are numerous plgins that people like to use. Some with Premiere Pro, but mostly with After Effects.

Tracode's "Shine" is commonly used, and Profound Effects has some interesting products. But these can be added as you expand your knowledge and reach. If you find yourself limited by what the programs can do, there are plugins available to help out.

So start with the basic Pro package, and grow as you need to.

I’m having a problem with starting a project. I shot something on miniDV, in "widescreen" mode on my sony trv, which I suspect simply cuts off top and bottom of the frame. Im having trouble starting a project that matches the dimensions and aspect ratio of the video I shot. In the scene monitor, the black regions on top and bottom of the frame are missing, and the widescreen video is simply stretched to 4:3.

I tried standard, and I tried widescreen, and neither of them work correctly.

Any ideas?

Hello all,

From Premiere Pro 1.5, I am trying to render out an important video section as an mpeg1. It is only 5 minutes of video, but once it's rendered and viewed, the video and the audio become out of sync very rapidly.
The file size must not go above 80mbs, so what are the absolute best settings in Pro 1.5 for an mpeg1 render to ensure the video and audio remain in sync?
Any help would be very, very appreciated because this is an urgent problem..

Thanks!

problem fixed.

nevermind....

I use a small tv hooked into my DSR-11 DV/DVCAM deck which connects thru Firewire to the computer. Video plays out thru Premiere Pro just fine. (works with Scenalyzer, my DV capture app as well)

many thanks

i will try firewire thru XL2 to tv.

Hey guys, I was just wondering if you knew of how to get the camera shake effect...

Ie. in Sin City when the car zooms by the camer, it shakes to the left and right a little...or when something huge is dropped in front of the camera it shakes a little. Alot of movies utilize this and I was wondering if its a post effect or does the camera actually have to be shaken during the scene?

Thanks

I'd say the effect you saw in Sin City was done in post. In most cases for quick little shakes to show a car going by or a person hitting the ground, you would do in post.

You could accomplish this in Premiere by zooming in your video just a bit and then keyframe animating the video shaking and you would probably want to add a bit of blur to the shot. That's all up to you though.

Im sure there are some plugins that will give you this effect easier, but if you want to have a full customizable shake that's the way to go.

By the way, Sin City was amazing.

Thanks for the info!

And but I have to disagree with you about Sin City...it wasn't really that amazing...

it was more amazingly BREATHTAKING haha

I was simply stunned with what they accomplished there. Even though Rodriguez may have pulled out....I still respect what he did with this movie...low budget killer. All digital. All greenscreen.

Simply Brilliant.

Hi Vance,

What settings are you currently using?

It can be sometimes hard to find the right formular, I sometimes find the best thing to do is to do a number of tests on a 1minute segment using the different settings. That way you can find out which one best suits you and your video.

Thanks,

What kind of source files are you using, and what are the audio and video settings on those? I'm not too knowledgeable about the "gotchas", but varying combinations of source file properties -- such as timebase and interleaving -- and your project settings can sometimes cause synch issues. In particular, PPro does not natively handle mpeg sources properly. You'd either need a separate application to first convert to AVI or obtain a plug-in to allow native use of mpeg.

I just recently realized the problems with 1.5 and 24p footage (i just got an external monitor). I want to somehow export my sequences or project from 1.5 to 1.0. What's the best/easiest way to do this? I tried EDLs and AAFs but 1.0 doesnt support EDLs. With AAFs, it clumps everything together in one group. Anyone have any ideas?

It can not be done as far as I can tell. You could trim the project, and then take the footage into a new 1.0 project. But there is no other way to "downgrade" a project.

exporting a sequence (quicktime maybe?) and importing that into the project in 1.0? Will that get rid of the flickering and the screwed up pulldown? Or what about exporting the sequence as a bitmap, importing it into after effects, converting the bitmap sequence into a movie, export it using a lossless codec, and importing that into 1.0? then, exporting only the audio of the sequence from 1.5 and importing that track into 1.0 and matching that with video that was exported from after effects. would any of these things be a workable solution? aside from losing timecode... but would it get rid of the flicker on overexposed areas and would it bypas the pulldown that 1.5 executes on the video? I'm going to try it but just wanted to know if there is anything i should look out for.
1.5 does the pulldown after you render, right?

... i shot 24pn not 24pa that's why i'm having the pulldown problem...

what's a good lossless codec in premiere? i'm not familiar with which ones are lossless and which arent....

thanks

paul

huffyuv is one of the most popular lossless codecs.

You will have to do a google search to find the download link, but that's one of the best lossless codecs you will find.