I shot my footage with a Canon XL2 in 24P. I imported the clips using Premiere Pro 1.5. I'd like to take some of my footage clips, import them into After Effects 5.5, and render video to be used in the Premiere Pro project. Is this possible? i.e., does After Effects support 24P footage? Will I have problems rendering 29.97 video and editing it alongside my 24P footage in Premiere?

Thanks.

Hi Aaron,
I'm only (somewhat) familiar with AE 6.x, but I'd be surprised if 5.x couldn't do 24p. What I don't know is if the older versions of AE would support 24pA (2:3:3:2) since I guess that is a fairly new pull-down scheme. If your footage is 24pN (2:3), you're probably ok. You should be able to open up AE and check the Interpret Footage dialogs for imported clips to see what your options are.

Aaron,

Page 87 of the After Effects 5 manual explains how to remove the 3:2 pulldown. Pete is right about the 24Pa pulldown, though. I don't know if AE 5.5 can handle it or not, you'll just have to try. I know AE 6 can handle 24Pa, as it is included in the manuel.

As always why not run some tests yourself? Do a small scene where you would
need this functionallity and do it once with no camera shake and do a take
with on-set camera shake.

Then see how easy it is to manipulate in post and how both look?

I know that most shaking on the Star Trek series (inside the ships) where
done by mostly shaking the camera's, sometimes combined with shaking the
actual set to improve acting performances and such.

Does anyone know how I can remove a dead pixel from my footage? Does premiere pro 1.5 have a plug-in for it as FCP? It's only a sinlge white speck, but it's enough to annoy the hell out of me.

It's better to get your camera serviced and have them mask that pixel.
Otherwise it is probably a very tedious manual job. I'm not using Premiere
anymore, so can't tell you if it would have such a feature.

In theory all you need to do is blend the pixel with some surrounding pixels,
if you can get a filter to do this small enough and always at that spot you
should be done.

I don't know of any plugin for Premiere Pro that will do this. But I do know that After Effects has a clone stamp tool (aka Photoshop's clone tool) that you can use to clone pixels and repair images. It has some options to help automate cloning so that it isn't as tedious as it sounds. Of course it depends on the footage as well. If your camera was locked down it will be easier than if it was moving.

Should be able to do a blur to hide the pixel -- if nothing else, could just duplicate the clip onto another layer, blur, and make all but that spot transparent.

Virtualdub and the Logoaway filter can also do an intelligent blurring.

Just make a track matte, or image matte, and use it. Put a second copy of the clip above the original. move it one pixel to the right or left, and use the same matte in every project until you get it fixed.

You could try "RE:Fill"

http://www.revisionfx.com/rfil.htm

Yes I agree...trial and error is the best method to acheive a desired effect...

And I know what you are talking about with shaking the set for the actors to realistically move...but in my case I plan on shooting a scene where a car speeds by the camera and the camera sorta rocks left and right to give a greater feeling of speed..(similar to, dare I say, the Fast and Furious "movies")

I will definatly try out different things though to acheive the desired result.

Thanks for all your comments and help!

I am using Premiere Pro 1.5

When using batch capture, the tape will move to the proper location and I can see the clips with audio being played and the software capturing. It seems to be capturing properly, however once capturing is completed, when I play the video, its all rainbowed but the audio is good.

In the past, I've manually (non batch) captured before and it worked fine, but even now, manual and batch will not work and I don't know why its not working now.

Hi Joe,

I've never come across this sort of problem. There are some things that you might want to try. In no particular order:

1. Try the tape in a different camera
2. Try a different tape
3. Try a different Firewire cable
4. Try a different Firewire card
5. Re-install Premiere
6. Check to see if it works OK with Windows Movie Maker
7. Check to see if your video file plays back OK with Windows Media Player

How are you monitoring your footage, through your TV, or just on your PC monitor?

What do you mean by "rainbowed"? I presume you mean its record the footage in different colours than expected?

Hope this helps. Please post back your results,

Thanks

The tape plays fine in multiple TVs and plays fine on the Capture portion of Adobe Premiere. As it is capturing, the video plays fine, however when I play the saved file that I have just captured is what is completely pixelated in colored snow (nothing can be made out), but the audio is heard just fine.

So I decided to save the files onto my C: drive rather than my other harddrive. It captured fine, and this time it works,and also when I play the avi file on windows media player it plays just fine.

i'd really like it to work on my 2nd harddrive (D:)

some more info:

all these files that I batch captured to my 2nd harddrive (D:) that do not play.....well, when I transfer them to my C: they play just fine.

any thoughts?

How strange????

Lets try and pull Premiere out of the equation. If you capture using Windows Movie Maker to your D: drive is the file it creates "rainbowed"?

If the answer is yes, then it would suggest maybe that the problem is with something else, which is not releated to Premiere. (Possibly harddrive, Firewire card, or maybe something completly different???).

If the answer is no, then it would suggest that Premiere is skewing up the file on capture.

Let us know how you get on.

i captured using windows movie maker and saved the file to my 2nd harddrive (D:) which resulted in the same problem......snowy (colored) video.

But when I save to my C: harddrive, it works just fine.

Hi Joe,

Thanks for the info.

So it looks like that the problem is not to do with Premiere, as the same thing happens in Movie Maker.

So its looking as though its the disk that is causing the problem. But why, I do not know. Or maybe its the codec?

I guess there could be an outside chance that it is the firewire card?

I guess on the disk front you could try, defraging, and checking for errors on the disk?

You could maybe try un-installing and re-installing codecs, specifly the Microsoft DV codec (that is if you are runing premiere on its own???)?

You might also want to try a different firewire card?

Have you done anything differently to your system, whihc might have caused this problem? i.e. installed/ un-installed any software or hardware?

Thanks,

i just picked it up. a lot better from the pinnacle s**t i was using. a lot more confusing. still getting used it to. but it seems simular to my partners final cut pro....

any tips?

It is fairly similar to FCP. There are advantages and disadvantages in both applications.

Drop by my site for lots of links to tutorials and other resources. There are a lot of us out there.

I bought Premiere Pro recently too, was using Premiere 6.5

What a difference! It's way better... Check out the 'Attend the world Premiere' in this forum. There's loads of useful info there.

did matrox show off a working unit at NAB??
Im just curious coz it seems (as far as spec is concerned) to be the bees knees.. and the fact that its only a PremPro HW unit makes me ask this question here..

being that its supposed to be the replacement for the DigiSuite, im hoping that $$ wise its not as ridiculous..

Obviously we have to wait and see, but what r ur thoughts on this??

Hello editing folks!

I'm just exploring PPro's more "exotic" features (or the ones I’ve always looked at and scratched my head), and I’m having problems with some of the “Auto” correction features in the "Adjust" video effects menu. For example, if I apply the default “Auto Color” video effect to my clip, the rendered version will often appear to “flicker” (this seems to happen even if I apply “flicker removal” under field options). It appears as if the color correction is different for each frame of the clip, producing slightly different color hues from one frame to the next (?). This same phenomena occurs with some of the other video correction effects as well. Has anyone experienced this before? Any advice? suggestions?

Cheers!

Andrew Stone

Hi Peter,

The Axio does look like a really cool HD/ SD solution. They have been promising it for quite a while now... And you know what I think they are pretty close to releasing it fully. Probably expect something around May/ June (Possibly).

They have been showing it at shows throughout the past year...

From my understanding, if you are a previous digisuite user, you'll get quite a good discount.

I’ve seen it working and it looks pretty decent.

Cheers,

Hello editing folks!

I'm just exploring PPro's more "exotic" features (or the ones I’ve always looked at and scratched my head), and I’m having problems with some of the “Auto” correction features in the "Adjust" video effects menu.
Andrew Stone

I am having the same problem with auto-color. I am trying to use it to correct a long video where I didn't white balance properly and I had colored gels on my lights. I can't get the rendered video to stop flickering, even when I changed some of the settings. Seems like auto-color in Premiere isn't going to work for me :-(

Sounds like it might be a problem with the method being used rather than Premiere. I get the same flickering with the auto level plug-in Vegas (click here) (http://nopermissionfilms.com/projects/opturaxi/autolevel/index.htm). See the video with "changing lighting conditions" for the most severe flickering.

By any chance were you guys shooting 24pN (2:3) video? There's a known issue with rendered "superwhite" areas, eg pixels with birghtness beyond NTSC standards...maybe this is related?

http://www.dvinfo.net/conf/showthread.php?t=37100

Nope...I shot Sp DV at 60i with the Sony Z1

By any chance were you guys shooting 24pN (2:3) video? There's a known issue with rendered "superwhite" areas, eg pixels with birghtness beyond NTSC standards...maybe this is related?

http://www.dvinfo.net/conf/showthread.php?t=37100=

I filmed regular NTSC DV with a VX-2100. It seems that the auto-color works "ok" for 80% of the clip or so, but it flickers often during a clip for no discernable reason and especially when there is a zoom in or other large change in the picture, so that it thinks the color needs to be adjusted.

hello all...

Just wondering if there was a way to preview my HDV Video on a computer monitor fullscreen off of premiere pro. A little info on my pc, I have the Ge-force fx-5200 128mb video AGP card, with dual monitor outputs. I plan on using a crt monitor to preview, but is there a way to set it up in premiere to preview my video out on a second monitor? will a CRT support it well enough? Any input would be appreciated. Thanks Much

Carlos Rodriguez III

Doing it is easy enough, but is it a valid option? Does it provide the same information as an HD monitor? No. It doesn't.

But it can be done. One of the SP2 functions is to allow a second monitor to play the overlay full screen.

It goes something like this for a GeForce I believe:

1. In Windows Display Properties Click on the ‘Settings’ Tab
2. Select the second monitor in the ‘Display’ drop down menu
3. Be sure that the check box “Extend My Windows Desktop onto This Monitor”
is CHECKED.
4. Click on the ‘Advanced’ button to view the nVidia Card
5. Click on the Tab with the nVidia Logo and the model name/number of the card.
6. In the side menu that pops out select ‘Full Screen Video’
7. In the ‘Full Screen Device’ drop down menu, select ‘Auto-Select’
8. Apply the settings

Hi Steven, can you say more about why this does not provide the same information as a HD monitor - and are there ways to improve on that situation still using a PC CRT for video. I would be interested in any references to read on CRT color vs HDV / HD TV color.

On a related theme I have thought about using an ordinary SD TV to monitor color adjustments etc - is that a workable approach - not sure one can even output the right signal if Premiere is working with HD but the fundamental idea is 'use SD TV for color adjustment, use PC CRT for everything else'. Any thoughts (maybe very stupid, like many others I am still working into the ins and outs of HD editing on a budget that is not limitless).

Andrew Hall

Sorry Andrew, but I am not an expert in this area. I know that the way a PC screen displays colors and the way a television displays colors are different. I merely trust the people who told me that I needed a monitor to color correct, not a PC screen. I always thought that there should be something that software could do to deal with this, but apparently not. The gamma being different is readily apparent though.

Worse yet, I have to trust them when they discuss color spaces. With SD and HD being different for reasons beyond my understanding.

Not that I couldn't learn I suppose, just that I trust the folks who explained it to me and have never needed to dig in.

I have found that my LCD monitor is extremely close to my LCD HDTV. Which is good enough for me because my stuff is shot and edited to be shown on that TV, or televisions pretty much just like it. If my stuff was designed to be broadcast, my guess is that I would be in for a rude shock.

So if anyone with the right answers happens to be hanging around, a short explanation of why Andrew needs, or doesn't need, an HD monitor would be welcome.

I just posted a new thread on this subject. Like andrew my budget has limitations. I am curious to know the differences as well.

Lewis

Hmmm.... thanks for the tips guys, I'll give it a try. The reason I thought I would have better luck with a second CRT monitor is because I figured there would be no way to get the hdv signal out through the firewire realtime. Or is there? I have the JVC 30k deck hooked up through firewire to my pc, and that has component outputs for and hd monitor, would that work out through the firewire realtime? I also have a dazzle dv hollywood bridge i was considering connecting through firewire to get a picture on a television, but that only has a composite out. I figured that wouldn't work.

So, if I go through the advanced settings you mentioned before, my premiere timeline will preview fullscreen on the second crt?

Thanks again!

Carlos Rodriguez III

I shot 24P footage with an XL2 and found that if I imported the clips into a 29.97 project, Premeire Pro got confused and did strange things when rendering sequences with those clips.

In the clip properties window, for each of my source clips, there is a section for the "AVI file" and "DV File". The AVI File section says that the AVI file is 23.976fps, while the DV File reads 29.97fps for the frame rate. I assume this means that what's on the miniDV tape is the "DV File" and the file on the disk is the "AVI file". So if I'm understanding this correctly, the footage on the tape was 29.97fps and Premiere somehow knew to capture the footage at 23.976fps.

Firstly, is this correct?

Then if that's the case, how did Premire know that the footage was 24p? Is there something encoded in the the miniDV tape data that says "Hey, I'm 24p"?

Otherwise, what is incorrect in my thinking about all of this?

Thanks,
Aaron

yeah ive been haunting the matrox site for almost a year now and nothing has changed re- availabilty..

For me, its either this, or an Avid Express Pro HD with Mojo..

consideirng the price of a digisuite these days.. i can get a full HP dual xeon Workstation + SCSI Meida drives for around 12k aus... whereas a digisuite, 2 yrs ago was twice that.. fr me, right now its all about money.
Ive got a Avid Studio SW, but im not that good at using it.. I only use it for delivery and finishing.. and i dont bother with Pro Tools coz Vegas 5 has far greater power IMO (well not greater.. but a different, more efficient workflow with native 5.1 using the same bahaviour as my old HW DD Encoders).....
Now that i think about it.. learning Avid is something i should put on my to do list.. its all about time i guess.. LOL

ill just sit back and watch it all unfold then decide.
in the meantime im gonna buy a laptop until the HVX is released...
I'll worry about workstation HW once they sort out the teething problems of the Axio, which im sure will exist...

Hi Aaron,

I can partially answer your questions, but need a little more information to make sure I fully understand the issue:
- Did you shoot 24pN (2:3) or 24pA (2:3:3:2)?
- Please describe the manner in which PPro got confused and did strange things.
- What file format and settings did you export to?
- What software did you use to view the final rendered files?

The properties that PPro read are almost certainly correct. There's a description of what happens in these posts:

http://www.dvinfo.net/conf/showthread.php?t=37100

http://www.dvinfo.net/conf/showthread.php?t=40508

In short, the camera CCD shoots true 24fps, saves it to tape with a pull-down to 60i while flagging in subcode the "A" frame (first of 5 frames in a pull-down group), and PPro recognizes the A frame so it knows to automatically do a pull-up to use 24fps internally.

Depending on the type of file you export and the settings you use, it may either be true 24fps or pulled back up to 30fps. It is confusing...I've been trying to learn the nuances of this for months and still haven't found all the missing details.

Pete,

Thanks! From your original post, it sounds like both of us have similar questions about all of this. I know editors and filmmakers that determine their settings empirically but I'm the type that wants to know why, why, why so that I don't have to render with some combinitorial number of settings before I'm convinced that the video is going to look right.

Just knowing that there's a flag on the A frame in the miniDV tape that specifies the footage as 24P helps. Now I know that Premiere Pro isn't just magically figuring that out somehow.

So here's more details about my particular case:

- Did you shoot 24pN (2:3) or 24pA (2:3:3:2)?

I'm pretty sure I shot 24pN. I didn't camera operate, but I fairly sure that's what it was.

- Please describe the manner in which PPro got confused and did strange things.

When the 24p/16:9 footage existed in a 29.97 sequence, PPro rendered some frames in the sequence at a 4:3 ratio. I am sure that my Interpret Footage settings were at 1.2 pixel aspect ratio and that the project was set at 16:9. When I moved the same clips to a 24p project, I did not see this happen--no problems whatsoever.

So, now that I think more about this, this might make *some* sense. The AVI clips themselves are 23.976, so of course they should exist in a 24p project. (Right?) But now my question is: when I capture 24p footage (that has been converted to 29.97 "in-camera"), how do I make sure that it *stays* 29.97; i.e., how do I make PPro ignore that subcode on the A-frame and just treat the footage as normal 29.97? Must I use different capturing software? Must I then remove the subcode in the A-frame somehow so PPro doesn't make assumptions? Is there a capture setting in PPro that I just can't find? And what's better about editing your 24p footage in the editing software at 24p rather than in 29.97 anyway? (Sorry too many questions!)

- What file format and settings did you export to?
- What software did you use to view the final rendered files?

As for the "rendering" problems I had where the footage became 4:3, I noticed these in PPro--when I did just a normal "Render Timeline" (i.e., the problems were evident in the playback window). So whatever format PPro renders it's scratch/scrub stuff to, I guess that's what it was.

Perhaps once I understand all this stuff, I'll consolidate it into a single post or put on a webpage somewhere. It seems my searches on the internet for details like these haven't been too fruitful. Where's the one book that explains this stuff in detail?

Thanks for your reply!

Aaron

I need to change from A/B Editing to Single Track. How on earth do i do this. According to books etc I have to go to the little arrow at the top right hand corner of the timeleine and choose the editing style I want. Only problem is, there isn`t a choice to change editing style. It`s not a major problem as I can obviuosly edit in any format, but I would like the choice.

Many Thanks for any help any one can offer.

Andy

Once you upgrade to PPro, single track is your only option. To toggle between the two modes in previous versions, select from the <window> menu, <workspace> then select single track editing.

Rob is right. Go waste some tape. Much of it in full manual mode and talk about your settings as you record.

Your second query with regard to the blurred background is controlling your depth of field and is done with the camera and not in post. It can be done in post, but it is painful and very time consuming using animated mattes etc. Next time out, get your f-stop to the lowest possible number without over-exposing and move back from your subject to almost the full extent of your zoom. Once you zoom in to frame up your talking head, shazam! the backgroung will reveal a nice soft blur look. Manual iris and focus only.

Good luck with your experiments. The learning curve will be fast. Enjoy!

I have used premiere for 3 years, an just started using the XL2 and I have a question.

I shoot in 16:9 and capture into premiere. It looks great in the editing window but when I export it looks squashed! Anyone know how to export letter boxed?

Note: When I burn the squashed file as a letterboxed 4:3 in Adobe Encore, it looks fine on a normal TV.

I jsut want to be able to export still frames and video so it isnt squashed!

Matt

Hi Matt this sort of question has appeared a few times. Please try our search and you should come up with a few results.

If you are using Prmiere Pro then you need to start a 4:3 project, import your 16x9 clips and then use the motion control to squezze the image.

Hope this helps a little

HI Ed,
I would certainly recommend another way. Do not open a 4:3 project, but rather an Adobe widescreen project 16:9. DO not use the motion control...


I use Ppor 1.5 and this is how I run my XL2 16:9 footage. Ecerything else would be a true loss of quality.

Or did I miss the question and your answer????

It looks great in the editing window but when I export it looks squashed!

Since I don't use a PC I can't help with the software issues, but it actually sounds like everything is behaving as it should. Anamorphic video is supposed to look squashed on a 4:3 TV, but it looks correct on a widescreen TV. If you letterbox it then you are throwing away resolution which would make it look better on a 16:9 TV.

On a DVD, the DVD player itself (or DVD playing software on a computer) is providing the letterbox during playback. This is a feature built into the hardware which can detect an anamorphic image and letterbox it for viewing on 4:3 TV's. But the actual image stored on the DVD is still squashed. DVD players have a menu option where you specify whether you have a 4:3 or a 16:9 TV. If you choose 4:3 then a letterbox will be provided. If you choose 16:9 then no processing is done, and the TV itself stretches the image to the full screen width.

Now if you just want to pull stills from the video you can resize them in Photoshop after exporting them. Change the image's pixel dimensions to 854x480 (for NTSC) and you'll be all set.

Sorry if this isn't what you're asking...

In addition to this site, you might want to check out http://www.wrigleyvideo.com/forum/index.php?act=idx

or

http://www.stevengotz.com/

They are dedicated to Adobe .

Boyd, that is the most concise answer I have ever recieved. It solved all my problems.

I thank you.

Hi,
I am new to this forum, so I thought I would start it out with a question I have had for some time.
I am trying to create a catchy way of presenting the name of my production company during opening credits. I have an idea, but I'm not sure how to do it.
Here is what I am going for:
I want the name to be written across the screen, as though someone is writing it on an overhead projector, but instead of really writing, I would like the letters to be removing the black screen, and revealing a loop of footage below. So it would start with a totally black screen, then as the name is written, the action below would be revealed through the shape of the letters. Hopefully that makes sense hehe.

I am used to working in FCP at school, and only recently have I been using Premiere at home, hence the reason I am a little green. I am very familiar with photoshop though, so if necessary, I could use that to design some of the logo.

Any ideas?

HI Ed,
I would certainly recommend another way. Do not open a 4:3 project, but rather an Adobe widescreen project 16:9. DO not use the motion control...


I use Ppor 1.5 and this is how I run my XL2 16:9 footage. Ecerything else would be a true loss of quality.

Or did I miss the question and your answer????

I thought Matt was asking whether it is possible to export in letter box format, from Premiere. The only way I am aware to do it in Premiere with out cropping the footage is to squeeze the footage so that it fits into the 4:3 aspect ratio, therefore retaining the full image frame.

As Boyd has mentioned if you are exporting to DVD for 16x9, provided your MPEG file has the 16x9 flag then your DVD player will play the file letterboxed on a 4:3 TV provided the DVD player is set to do so.

It looks like that Matt has solved his problem...

Cheers,