Hi.

All my footage is shot using an Anamorphic adapter.

Is it possible to see the footage in when editing in16/9 format?
If so, what do I have to change to be able to do that?

Is there some parameters I have to set when capturing?

Is there some parameters I have to set when exporting?

Using Adobe Premiere Pro 1.5

Hi tore,

All you need do is set the Premiere project template to 16x9 this way everything you capture will be 16x9 and your project/ monitors will also be 16x9.

Cheers ,

Hi Tore,

Happy New Year! Easy answer on this one...I found the text below in PPro's help. It is in a section called "Preparing for DV capture:"

If the video you are capturing was shot in 16:9 format using an anamorphic widescreen add-on lens, be sure to choose a Widescreen (cinema) DV preset. You'll also need to set the pixel aspect ratio for each individual clip after importing. If you don't, Adobe Premiere Pro treats the video as if it were in 4:3 format, resulting in distortion of the aspect ratio. See Capturing or importing various aspect ratios.

So the summary is: make a 16:9 project, import your anamorphic clips as 4:3. Then right click on the clip in the Project window and select:

Interpret Footage...>>Pixel Aspect Ratio -- Conform To: (change from D1/DV PAL to D1/DV PAL Widescreen).

That should do it...happy capturing!

Thanks for the replies.

The answer will help me but....

Having to select imported clips manually and then convert them to the right aspect ratio makes room for errors that could easily have been avoided if it was possible to tell premiere to do this automagically when importing the clips.

Is there no automatic workaround for "having to select each of the imported clips and then using Interpret Footage ..... to change the aspect ratio" manually?

I would like Premiere to automatically convert to the proper aspect ratio on the fly when importing the footage or auomatically after each of the clips was imported in full.

When capturing PP captures the clips as AVI is there a way to have PP capture in MOV or RawDV?

Thanks,
Bill

No, not unless you have a third-party capture module that would do the transcoding on-the-fly. I'm not personally aware of any, but they may exist.

You can import a variety of formats, such as MOV, but capturing takes the DV stream from the camera and makes it an AVI file; the datastream is not transcoded or re-rendered. So quality isn't really an issue with having to capture and transcode separately. Transcoding has to happen at some point to get from DV on the tape to MOV on the computer. It just is a two-step process in PPro: you'd have to capture to AVI, then export to create, for example, a MOV from your original miniDV tape.

You'd probably only want to convert to MOV, etc if you are planning to edit with software that natively uses that format. For working within PPro, you'd want to stick with DV capture to AVI anyway, because that's what PPro uses natively.

Happy New Year!

To the best of my knowledge, you can't change the Pixel Aspect Ratio (PAR) flag in clips during capture in PPro.

As far as automating, the simplest thing to do is capture all of your clips, then within the Project Window just Ctl-select or Shift-select the ones for which you want to change the PAR, and do the "interpret footage" procedure once for all of them.

If you have a variety of kinds of clips, it might simplify life to create separate bins and capture clips directly to the appropriate bin. For instance, if you have imported clips that are already 16:9, put them in one bin. Then capture all the 4:3 clips to be converted to 16:9 in another bin, select all the files in that bin, and off you go. Even if you have a hundred clips, that should just take a few moments.

Pete,

Happy New Year to you!

Thank you for the thoughtful and intuitive response.
It answered all my questions even the one I did not ask (“the datastream is not transcoded or re-rendered”.)

Thanks again.
Bill

Yep Petes correct.

Even if you create a 16x9 project (using the 16x9 template), and you want to capture 4x3 with 16x9 aspect ratio it will not allow you. It takes the flag from the source. And so if you capture 4x3 with the 16x9 template the capture screen will default to 4x3. However when it sees a 16x9 clip with a 16x9 flag it will capture it 16x9.

The only way to change the aspect ratio is to interpret the footage once it has been captured.

Thanks a lot for the replies.

Have to add one thing...

Great forum this place !!

Fast response to questions, even for newbies like me :-)

Hey Pete

Thanks a lot for your reply. That make a lot of sense.
I will give it a try and see what happens. Now that
you explained it I am sure that is what happening.

Thanks again!

Hi Pete, I'm using Premiere Pro 1.5. I shot the footage in 24p, widescreen, with 3:2 pulldown. Should I film my 24p footage in 2:3:3:2 since that's what Premiere has for the pulldown option? The jerkiness is there no matter what I do with the footage. Whether I export it as a file, export it back to the tape, or even just watch it on the camera through Premiere, the jerkiness remains. The other thing I noticed is that every 4 frames, the picture goes slightly darker for one frame. It only looks this way after I've captured the video. It looks fine on the source of the footage. It almost seems like this is a capture problem. The fact that the audio doesn't sync up with the video during capture also points to that. Is there some way to change the capture settings so it knows i'm capturing 24p? This is really quite frustrating. I've been playing around with some things for a few days now and I'm still making no significant progress. Thanks for helping.

Hi Brent,

Is it OK with normal footage - i.e none 24p?

Sometimes jerkiness can be associated to bad Harddrive/ disk performace. However if normal footage is OK, then its more than likely the settings.

Brent, thanks for the further info.

The general advice is that unless you have a specific reason to shoot 2:3, set your camera on 2:3:3:2 and leave it there. I'll requote a comment that is buried in this post:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=36253&highlight=24p

The consensus around here is to use 2:3:3:2 pull down. If you look closely at the 2:3 pattern, there's no way to cleanly get rid of extra frames and be left with the original progessive frames. Once you've shot 2:3, there's no going back -- you either have to export it to an interlaced final product, or, if it is even practical, do a lot of post-production work to minimize the interlacing artifact that'll be induced by rendering back to progressive footage, either 24p or 30p.

Here's another extensive thread about pull-down:
http://www.dvinfo.net/conf/showthread.php?s=&threadid=32239&highlight=24p

If you haven't already, try this menu setting:

Project>>Project Settings>>General...>>Playback Settings... button and in the "DV Playback Settings" dialog box, make sure the "Repeat Frame" is selected in the "24p Pull-Up Method" radio button near the bottom of the dialog box.

What's not clear to me is if this is truly just a playback option within PPro and thus doesn't affect capture or export (just playback within PPro), or if it really is telling the software how to capture and export as well. Please give that a try and let us all know what happens...but if that doesn't help, then I'm scratching my head, too.

If this setting DOES matter and you have 2:3 footage but PPro is set to use 2:3:3:2 pull-Up, it makes sense to me that you'd have the kind of problems you describe. Here's why:

Caveats to that which follows:
- I haven't had my coffee yet this morning and I'm not using source material, just trying to logically follow the pull-up schemes as best I know them. So could easily have screwed something up.
- I'm using CAP letters for lower field and small letters for upper field of a given frame. (DV is always lower field first).
- I don't know which field of a frame is duplicated when a 3rd field is created for 24p footage on a 60i tape. For these illustrations, I'll assume the upper field is the one that is duplicated.
So: if someone sees that I've made an error here, please don't be shy about correcting!

With 2:3, this is what is on 1 second of tape:
Aa Bb bC cD dd Ee Ff fG gH hh Ii Jj jK kL ll Mm Nn nO oP pp Qq Rr rS sT tt Uu Vv vW wX xx

This is what 2:3:3:2 pull-up expects to see (underlined "extra" interlaced frames are intended to be removed to make 24pA):
Aa Bb bC cc Dd Ee Ff fG gg Hh Ii Jj jK kk Ll Mm Nn nO oo Pp Qq Rr rS ss Tt Uu Vv vW ww Xx

Actually removing the frames from 2:3 footage using 2:3:3:2, this is what's left on a 24fps timeline:
Aa Bb cD dd Ee Ff gH hh Ii Jj kL ll Mm Nn oP pp Qq Rr sT tt Uu Vv wX xx

For export, neither scheme can recreate the original 2:3 footage since fields have been totally removed. The 2:3:3:2 scheme would end up (added fields are underlined):
Aa Bb bc cD dd Ee Ff fg gH hh Ii Jj jK kL ll Mm Nn no oP pp Qq Rr rs sT tt Uu Vv vw wX xx

Even if you changed back to 2:3 for the export (not sure I have this one quite right):
Aa Bb bc Dd dd Ee Ff fg Hh hh Ii Jj jk Ll ll Mm Nn no Pp pp Qq Rr rs Tt tt Uu Vv vw Xx xx

Ok, time for coffee!

Ed, I've tried recording some footage in all three of the framerate settings (60i, 30p, and 24p). The 24p is the only one that's giving me trouble, so I don't think it's a computer performance issue.

Pete, thanks for the detailed reply. I tried doing a little test with my camera. I filmed about 15 seconds using the 2:3 pulldown and then another 15 seconds using the 2:3:3:2 pulldown. I've found that they come out looking exactly the same. I captured each one separately, and I cannot notice any visible difference. What's strange is that when I do shorter captures, that jerkiness I was talking about seems to go away. I captured about 7 or 8 minutes of straight footage before and I got all that jerkiness. But when I go back now and capture it in smaller chunks, it looks fine. But now there's another issue.

The biggest problem I have now is that there is a flicker every 4 frames. It's very noticable and distracting. This flicker does not appear when the raw footage is viewed on the camera; it only shows up after the video has been captured. It's not visible on the computer itself, but if I connect through my DV device to a TV, the flicker shows up there. It also shows up on the camera if I do an Export to Tape. So somewhere in the capture process, something is going awry. I'd post a short video clip of what I'm talking about, but the flicker doesn't show up on a computer, so it would be pointless.

Any idea what could be causing this?

Hmmmm. If very short clips do fine but longer ones are jerky, I'm really strongly suspicous that you DO have a system performance problem...HDD fragmentation and/or nearly full disk, DMA accidentally off, background utility interfering, flaky Firewire cable/connector...something. We have had folks with more than adequate systems get surprised by simple hardware issues that sneaked up on 'em -- 24p editing is more demanding of your system than the others, so that seems to sometimes be the straw that breaks the camel's back. So please do check the hardware basics anyway.

What's your hardware? Any recent changes?

If all the hardware appears to be in good shape after a careful check, a couple of specific things to check:
- Frame drops during capture?
- Make sure that all the scratch disk locations in the preferences are for a fast HDD other than where XP and PPro are located (eg, other than the C drive).
- If you do another generation of a short segment that misbehaved, does the problem follow the new, small segment or "magically" disappear?
- Are you sure it is every 4th frame, or might it be every 5th frame (that would be consistent with a pull-down problem).
- Is the flicker you see on the TV you're using as a monitor coming off a 24fps timeline or 30fps timeline? If it is 24fps, that may have something to do with it because regular TVs can only handle 60i (30fps).

If none of the above helps...if you don't mind, please do post a short clip so we can attempt to biopsy it! ;-) Along with that, please list your capture settings, project settings, and export settings.

Thanks again for the tips Pete. I changed my scratch disks to my external drive and captured the whole thing again. You were right, that did help with the jerkiness. I never saw any dropped frames before though, and the jerkiness was always consistent, so i don't exactly know how or why it happened.

In terms of the flicker. It is definitely every 4 frames. I thought it might just be the TV, but I've since ruled that out. First of all, when I play the raw footage straight from the camera, the TV plays it just fine. No flicker at all. It's only after I've captured the video that the flicker shows up. It's both on the TV and on the camera. IT's even there while playing it back on the XL2 through the firewire. I looked a little harder, and you can just barely make it out on an exported file on the computer. I exported a clip so you can sort of see what I'm talking about. It's much much worse on a TV, but if you look hard you can see that there's a little flicker.

I'm really stumped with this. Maybe Premiere just can't handle these 24p projects like it should. I've tried changing all sorts of options and nothing seems to work. Any more suggestions? Thanks so much for your help so far. Even if you haven't solved everything, it's still nice to know that there are people here who want to help.


Here's the link to that video clip:
http://www.sweepinghalo.com/flicker.mov

Again, it may be hard to see, but look around the tree branches and you might be able to see what I'm talking about.

how do i add black borders on to my video as if its 16:9?
i use adobe premiere 6.5. can someone explain in simple steps please.

Brent,

I think that more than one thing was going on. First, it sounds like PPro playback performance improved when you optimized the scratch disks -- so far, so good. Second, the issue that's really bugging you...pun intended...may well be a known 24p strobing bug.

If a picture is worth a thousand words, a video clip is worth....!!! As soon as I saw the over-exposed sky in your video clip, it reminded me of an Adobe forum thread and FAQ. Apparently, in 24p footage that is returned in any way to 29.97fps, video that exceeds 100 IRE will strobe every 4th frame. From a quick read of the thread, it looks like this is primarily a 2:3 issue, but also affects export to tape/external device from 2:3:3:2 (in other words, when 24p within the timeline is exported as 29.97, the strobing is introduced).

You'll probably have to register to get to the following links, but if you're an Adobe user, you ought to be checking in there periodically anyway, IMHO:

http://www.adobeforums.com/cgi-bin/webx?14@31.FYaHdH0lAiv.1@.3bb4e9c8

Here's the Adobe forum thread that led to the FAQ:

http://www.adobeforums.com/cgi-bin/webx?14@31.FYaHdH0lAiv.7@.3bb49731/0

There's a LOT of info in the thread, so I encourage you to grab a beverage and sit down with it for a while. Then you'll be one of the smartest folks around here on this problem!

The work-around in the FAQ seems a bit involved to me, and in the thread (around post #69) I read that someone got decent results by simply applying the "Broadcast Colors" effect to make sure the footage stays within 100 IRE. Of course, you could also work with contrast, brightness, saturation, etc first to minimize any detail loss first before trying the Broadcast Colors effect.

It is most unfortunate that this has been known for a long time and no fix yet. Maybe that's why some of the posts at the Adobe site are a bit less polite than we all are here at DVinfo!

BTW, your clip doesn't look like it was shot in Southern California! ;-)

Wow, thanks Pete. I haven't completely raked over everything in those forums yet, but it does seem like quite the wealth of knowledge. I think you're definitely right about my problem, and the Broadcast Colors effect does solve it to an extent. It's still there a little bit, but I guess there isn't much else I can do. And I agree, it is quite surprising that there hasn't been a fix for this.

And you're right, it doesn't look like Southern California because it's actually in Massachusetts. :) I go to school in Orange, CA, but I'm originally from the Boston area and I'm home for the holidays.

Thanks for all your help Pete. I really do appreciate it.

The technique you are referring to is called letterboxing. Visit my
letterbox calculator page to download a 16:9 mask or any of the
other masks:

www.visuar.com/letterbox/calc.htm

I can't really help you on how to get it working inside Prem 6.5,
it's been a long time since I used that. But it shouldn't be too hard.

Hi Chris,

Premiere 6.5 has a widescreen matte. Simply add a new video track above all your video clips in the timeline. Go to File menu and then select new> title. From the template drop down menu choose matte, then in there you'll see a 16x9 matte option. If you select it, then save the title (matte). Drag it from the project bin, into the spare video track and increase its length so that it covers all the project. Render if needed and then play. You now should have a widescreen matte over your 4x3 footage.

I don't know what frame aspect ratio it is, but it'll give you the effect.

You could always use Rob's template, or the clip effect from the video effects palette.

Cheers,

hello everyone and Happy new Year.

anywho ive been editting with Windows movie maker and now moving on to Adobe.

so im trying to capture but its giving me a hard time sometimes it will catch a few min of tape(start to pause) then when it moves to the next it will only catch a few seconds and ill have to punch in a clip name the it will give me a time code error.

all i wanna do is capture the whole tape with out having to babysit anyone have any ideas


Thanks Much

Cheers

Mike

Very difficult to help you without at least some information about what camcorder and computer configuration you have.

As just one suggestion: go to \File\Capture\Options and set the device brand and type to match the camercorder you are using.

im using a XL2 ( setting in Adobe Premiere pro is only for xl1 so i used that)

pc is pent 4 3.4mhz running XPpro




i did file>>capture>>set the options to the camera


Graham do you use Msn at all?

Hi Mike,

Yes, knowing a bit about your computer hardware and software setup will help. Also which Adobe software and version are you using?

For starters, though:
Although PPro 1.5 is more forgiving than earlier versions, it still doesn't tolerate breaks in the timecode more than a couple seconds long. If you've resumed taping past the end of the last shot on the tape, you'll have timecode hassles. If that is the case and you have another DV camera available to you, one thing you can do is dub your whole tape to the other camera. Done all in one go, the new tape will have its own timecode.

Hopefully that's a start.

EDIT: BTW, unless there has been a very recent update that I've missed, PPro 1.5 doesn't have a capture profile specifically for the XL2 since the camera came out after the software.

im useing premiere Pro 7

and i dont have another Camera to transfer it to



is there a way with 7 to just take everyting off the tape cuz i can just sift through all the work and cut out what i need ?




cheers Mike

thanks for what help you guys have provided

but i solved my time code issue buy capturing with Pinnacle and importing to Premiere.

well i didnt really solve anything i just went around the mountine instead of going through it.


thanks again

Cheers

Mike

Hi, guys. I have question.

I'm trying to export a mpeg2 file in Premiere to a mini DV tape with the stock settings DV NTSC Standard 48khz and I'm getting really bad jittering effects on the dv tape like one image is overlapping the other.

The reason I'm not capturing right from my original premiere file is because I wanted to add one minute of color bars at the beginning of the film without having to go back and move my original premiere file down the timeline and re-adjust the keyframes just so I could add an extra minute of color bars.

So, I started a new project and just exported the mpeg2 file I encoded and inserted the color bars before it. But, I'm getting this jittering effect.

I heard it could be my fields aren't set right. Right now it's on "lower field" and I've tryed setting it to "upper field", but I haven't had any luck. I'm trying to export to a GL2. Does anybody know how to solve this?

Hi friends,

I'm finally going to get a new PC that will actually allow me to edit footage at home (I currently mooch free 4 A.M. AVID time when I need to cut). I was going to put a system together from scratch, but then I came across an amazing clearance deal for the Gateway 505GR desktop. For basicallt 1K Canadian, I can get a PC with:

Operating System
Microsoft® Windows® XP Home Edition¹

Processor
Intel® Pentium® 4 Processor 530 supporting Hyper-Threading (HT) Technology4
Operates at 3.0GHz

1MB L2 Cache and 800MHz FSB

Chipset
Intel® 915G

Memory
1024MB DDR (400Mhz), Dual-Channel Memory
Expandable to 4GB

Hard Drive
200GB (7200 rpm, Serial ATA, 8MB Cache)5

Video
Intel® Graphics Media Accelerator 900 up to 224MB DDR Shared Video Memory

Audio
Intel® High Definition 6-Channel Audio (5.1)

Optical Drives
DVD±RW, Double-Layer Multiformat

Write max: 8x DVD±R, 4x DVD±RW
32x CD-R and 16x CD-RW Disks
Reads 12x max. DVD-ROM Disks
Reads 40x max. CD-ROM disks
CD-ROM Drive: 48x max. Read


Etc. Now, I know I'll still need a Matrox card if I want multi-screen options, but outside if this, would I be covered in the video / audio department with the Intel cards? Hard drive, processor and memory seem to be above spec as far as editing goes, so I'm just wondering about the rest.Any tips? Also, has anyone here had any *bad* experiences with Gateway PCs? They seem to use quality components (Seagate 7200 Hard drive, Intel everything...). Any and all input would be graciously appreciated!

MD

That system would be great for DV editing and very workable for non-RT HDV.

You don't mention firewire ports, but I assume that's on the motherboard?

Premiere supports ASIO drivers which allow you to route audio tracks to the separate channels of a multichannel soundcard. If you are interested in authoring 5.1 sound for DVD, it would pay to check the specs on the Intel sound chip versus a prosumer audio card from somewhere like M-Audio.

Also, I'd be inclined to add a 2nd cheap 7200rpm drive, so that you can have your OS and apps on one drive and leave the second free for your video and audio files.

If you just want dual CRT or LCD monitors, an el cheapo NVida dual-head card may be all you need. If you also want fullscreen output to an interlaced monitor a Matrox Parhelia would indeed be nice.

Enjoy!

Hello all,

Just a quick question; I am wondering why, in 6.5, you could choose between Ntsc and Ntsc *real-time*. It allowed me to just press Enter and the video would play no problems..even with multiple effects.
But in Pro 1.5, I don't have a "real-time" option when creating a new project.
Why in 6.5 you get a "real-time" option, but in 1.5, you do not? And 1.5 is substancially choppier.

Do you have to have a specific card installed for a real-time option to appear in pro 1.5?

If anyone could shed some light on this for me, that would be very, very, very helpful!

1- At Ncix.com, you can get a very similar for about the same price. With that online store it's out in BC so you only have to pay 7% GST instead of ???15.025%??? tax. For $1,150 plus shipping plus 7% GST, you can get them to put together something like the following:
Antec 2700AMB case
Pentium 4 3.0ghz processor
Abit AS8 motherboard with firewire (socket = LGA775)
1GB RAM (choose the cheapest, because they'll test it anyways)
seagate 200gb hard drive
eVGA Geforce FX5200 VGA DVI out (may need VGA-DVI adapter; Nvidia drivers; may be cheaper dual head Nvidia card)
benQ 16X DVD+-RW burner (other burners like the Nec 3500a or Pioneer 16X one are better)
microsoft keyboard, optical mouse. no speakers.
winXP home.
Full assembly and testing.

Differences from the gateway:
You get firewire and the dual monitor video card installed.
Support: NCIX = none, Gateway provides some support. *You can get free online support from places like protonic.com
No proprietary parts (one or more of case, motherboard, power supply).
The Windows installation with the custom build won't have bloatware on it that the manufacturer installs.
Different chipset (older, cheaper 865PE chipset). Should be same performance. Uses AGP video cards instead of PCI-E, and uses DDR RAM (not DDR2).

If you can build your own computer, you can save like $100 by buying the parts at sale prices from NCIX and by assembling the system yourself. Some of the NCIX prices are a little high- a friend of mine has a special account with them and gets special pricing on all their items, so he can see a sizeable difference between normal and special pricing. You can price match other vendors apparently, although I haven't tried it. Ordering from NCIX might take some time if they don't have stuff in stock... you may run into this.

You can check out the reputation of various computer sellers through resellerratings.com. Major vendors like Dell, HP, Gateway, etc. have very low ratings (around or under 5 out of 10), although the sample size may be skewed and for Gateway there aren't that many reviews (although many Gateway computers being sold). The main thing you should be concerned about is the support you get from these companies.
A- They generally don't cover spyware, the most common problem people have with their PCs.
B- All the companies farm out tech support to India, where they may not understand your thick North American accent. Gateway/Emachines might be half NA half India (not sure if home users get NA or India).
C- Some of the tech support reps just read off scripts and have little or no computer knowledge. If you have a problem you may be told (multiple times) to re-install Windows via the manufacturer's recovery CD.
D- If you have to get hardware replaced, you may have to go through C.

NCIX has a fairly high rating, but they mainly sell computer parts so the rating may not reflect their computers.

2- If you plan on using hardware acceleration cards for Premiere Pro then get an Intel (not Abit) motherboard or whatever's compatible.

Excellent comments from Glenn. I support his suggestions about avoiding bloatware, DDR2, and PCI-E video.

And when I said "Nvidia card" I was actually meaning an Nvidia chipset on a cheap card (such a eVGA).

Hi Jake,

Can you please provide some more info.

- What are your computer specs
- What version of premiere are you using
- What settings did you choose
- What sort of Mpeg file is it
- Is there a reason why you are using an MPEG file

I've had problems with Premiere 6.5 when trying to export an Mpeg file into an AVI, where it would jitter and not look right. I resolved it by using an external program to convert to an AVI file. This then played back OK.

I think that your best option might be to:

export the MPEG file into an AVI file, then export the AVI file to tape.

Thanks,

<<<-- Originally posted by Ed Smith : Hi Jake,

Can you please provide some more info.

- What are your computer specs
- What version of premiere are you using
- What settings did you choose
- What sort of Mpeg file is it
- Is there a reason why you are using an MPEG file

I've had problems with Premiere 6.5 when trying to export an Mpeg file into an AVI, where it would jitter and not look right. I resolved it by using an external program to convert to an AVI file. This then played back OK.

I think that your best option might be to:

export the MPEG file into an AVI file, then export the AVI file to tape.

Thanks, -->>>

Hi, Ed -

Thanks for the feedback. I actually solved the problem by first opening up a new premiere project and just adding the color bars and tone to it and then recording that on the miniDV tape.

Then I closed that and opened back up my original premiere film with my documentary and then recorded that onto the same tape. Problem solved. It's always the simple things isn't it!

But, I have another movie I have to do the same thing to, but I only have it as a VOB file, so should I convert that to a mpeg2 file or AVI? Will I lose any image quality recording on a miniDV from avi instead of a mpeg2 file? Thanks again!

Thinking about TRADE UP TO MATROX RT.100 XTREME PRO BUNDLE from
PINNACLE PRO ONE. ADOBE PREMIERE 6.5. REASON BEING?

Shooting full feature with DVX 100 and can't decide wather or not to do it in 24pA or 24p as I know the programs I have now very well, ( Problems / glichs) and can deal with them.
I do not want to spend the money for somthing I'm going to have more problems with. seeing how that is that last thing I need while making a movie.( more Problems)
So my question is ?
is anyone having problems with the matrox/ premiere 1.5 shot in 24PA?
or should I just keep what I have and shoot it straight to DVD and not worry about blowing it up to film?

Their you go ED...

As stated, a second video only hard drive is a wise move. Also, a deicated video card replacing whats built into the motherboard will also help performance a bit.

Eddie

I would stick to DV AVI when exporting to DV tape. My experiencing using MPEG2 IBP in the timeline and exporting has not really turned out too good. MPEG2 IBP was not really made to be exported back to MiniDV nor to be used as an editing format, The main reason being that an MPEG file is made up of a GOP (Group of pictures), Which makes it hard to get frame accurate editing.

If it were me, I would stick to DV AVI when editing and exporting to MiniDV. Only use MPEG2 when exporting to DVD.

Cheers,

<<<-- Originally posted by Ed Smith : I would stick to DV AVI when exporting to DV tape. My experiencing using MPEG2 IBP in the timeline and exporting has not really turned out too good. MPEG2 IBP was not really made to be exported back to MiniDV nor to be used as an editing format, The main reason being that an MPEG file is made up of a GOP (Group of pictures), Which makes it hard to get frame accurate editing.

If it were me, I would stick to DV AVI when editing and exporting to MiniDV. Only use MPEG2 when exporting to DVD.

Cheers, -->>>

Ed -

Do you have any recommendations on any programes that I could use to export my VOB file into an AVI file? Thanks!

First premiere 1.5 is supposed to be completely based around the realtime concept.

I too have wondered how the 'ram preview' in 6.5 was so much faster than the realtime now in 1.5.

I believe it was because the original ram preview in 6.5 was not full quality/ resolution and because the new 1.5 is much more processor intensive.


There is no option to select realtime in premiere 1.5, because technichally everything already is. However if your computer isn't up to premium specs it cuts down on the quality to almost an unwatchable level.

Currently on my system (1.7ghz 768rdram) I just have to go ahead and render every change I make (enter) to preview it at an acceptable level. My whole editing process is probably now much slower using 1.5, but the other features definately make up for it. Plus, when I acquire a new computer this shouldn't be an issue anymore.

Hi Desi,

I don't really have experience with 24pa or 24p, but Premiere Pro 1.5 does supports them. Only people who have experience with this can tell you how well it is handled :)

As for using the RTX 100, I can certainly recommened it, But you need to make sure that your system meets the recommended system requirements by Matrox (http://www.matrox.com/video/support/rtx100xtremepro/rec/home.cfm), including buying the right branded motherboards etc. It'll certainly be an improvement over your Pro One.

In the end only you will be able to decide if this will be right for you. Where posible try and get a demo with an adobe/ matrox approved dealer.

Please refrain from using capital letters. It makes it look like you are shouting your words. As this is a friendly, relaxed discussion board, nobody really needs to raise their voices.

Thanks,

I recently recorded a live event using my XL2. I had two sources of audio. One of them was the on-camera microphone and the other was a set of microphones run through a mixer and into the XLR input on the back of the camera. I set the camera mic to record on the right stereo channel and the mics from the mixer through the left. I was then planning on taking each of these tracks, separating them, and copying them over to make two simulated stereo tracks.

However, when I try to capture the video in premiere, the audio is only capturing from the right channel. When I listen to the playback from the camera through my headphones, I hear both, so I don't believe it's a camera issue. Is there some setting I need to have in Premiere to capture all the audio channels? I've even tried only playing back the left channel through the camera while capturing and that doesn't work. What am I missing? This is really very frustrating.

Any input is greatly appreciated.

Also see this thread:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=37509

i have to start by saying that i am extremely new to this game...

alright. going a little insane. has anyone run into trouble using Adobe Premier Pro 7.0 and capturing from a GS400?

I noticed in the settings product list does not include the GS400, which i didn't think would be a big deal. but for the past 3 day's i've been trying to get my video captured with little success.

the camera feeds into the program fine, i can, seemingly, set my in and out points fine, and logging offline clips into the project window works perfectly.

but then the manual tells me i have to 'batch capture' and when this begins, it:

a) doesn't work and produces a log that says it was aborted.
or
b) tells me that i can't capture and have to increase my preroll (which i do and still no deal)

i also noticed, that the offline files in my project window state there is no in/out points set. the only info that is present is media start and media end. even though i carefully set the in/out points in the capture window.

i follow the manual's instructions, it seems, to a t. but still no deal. so i'm wondering if this has been a problem for anyone/if that problem has a solution. i realize i'm probably overlooking something, but the manual offers no insight as to what i could be doing wrong because, according to that, im doing it right.

any help/advice would be appreciated. i really don't want to have to pick up another program if it isn't necessary. thank you for reading this long winded post.

Jono, I moved your post to the Premiere forum in hopes that it will gain more answers for you. I have a left a re-direct in the Panasonic DV/MX forum.

Thanks,
Tommy

...so...as far as i can tell, the reason that i cant capture is because i have a discontinuous timecode on my tape. it is set to zero at least 3 times on the tape (thanks to my beginner's 'luck') so. i guess what i should ask now is: can i reset/override the timecode on the tape?

I have Premiere v6.5 but I am still somewhere low down on the learning curve.

I need to make a short clip, possibly Quicktime or whatever suits, for viewing on the web.

The raw material, as it were, is available in one of two forms:

1. approximately 4,096 .TIF files of about 3MB each;

2. an .AVI file of about 190MB (Indeo 5.5, from memory)

Just to be different, the format is square, 1024 x 1024. I'm going to need to crop the image top and bottom, not necessarily by equal amounts, to arrive at 4:3. As the camera was locked off during the shot and the subject doesn't move up and down too much, the cropping can be the same on all frames throughout the clip.

Because of a combination of slight underexposure and the presence of a spectral highlight at the edge of frame, the images are dark overall but can be brightened up to an acceptable standard using normal image manipulation software.

I have tried importing the .AVI into Premiere, taking a small slice of it, just a few seconds long, and applying treatment to it. I forget what the technical term is, but what it amounts to is brightening and clipping top and bottom. I have tried these processes singly, and the results are the same.

This is where it all goes pear-shaped. I can see the original in the preview screen but although the program sits there working away producing an .AVI file, which appears to be the right size in MB, the frame is black throughout.

I don't know if it's just me, but I find Adobe's Help files to be spectacularly unhelpful.

Can anyone set me off along the right path, so perhaps I can provide the right information leading to a solution.

Al

PS: the original material is high-speed video from one of Vision Research Inc's Phantom cameras.

I am using Adobe Premiere Pro and am not able to capture with my VX2000. Other cameras i use, once pluged in, automatically start up Premiere. On the other hand my Vx does not activate and will not activate in Premiere either. Is this a camera problem or is there some setting that needs to be changed. I have a project to be completed soon so any help is greatly appreciated. Thanks alot.

i just got 6.5 and i was tinkering around with it. i captured some short clips (no problem there) and placed them in order in the timeline. easy enough. but when i go to the monitor and play it, it just plays as a series of short stills w/ no sound. what gives? like i said, probably an easy/stupid question.

thanks