Nobody can help me out?

(I believe lower field first, in the Field Order)
Since you wrote believe - did you try to render out the movie using upper fields instead of lower fields, just for testing purposes?

/Roger

No.
I was very content with the footage after exporting it as progressive, because it looked good, without those horizontal lines. I just would like to know where they came from and if my conclusion (which I posted in my first post) is right or not. I can't post an image of the lines. And they were not so very noticable or disturbing, but it's a nicer image when they are gone ;-)

Hi group,

I am looking for a workflow when shooting 16x9, 24p with the XL2. I tried the 24p Panasonic preset in PPro, the result seemed close but perhaps one of you is currently working with the aforementioned setup.

Project settings:
Footage interpret:
Export settings:
Field options:
23.97?

My authoring destination is Encore.

Thanks!

Make the pic as high a resolution as you can so that if you use zooming it won't pixelate as much.

I would be easy on how high the resolution of the picture is. Standard DV is only 720x480 pixels. Most of todays digital cameras shoot pictures that are much bigger than this. If you use a picture that is over about 1500x1000 you may create some of these problems for yourself:

Flicker - the sharp edges around objects, and especially horizontal lines, will flicker when they are displayed on a TV

Poor performance - you machine will have to deal with files that are much bigger and it can slow performane of your machine if you have alot of photos in your project (50+) Also, Premiere Pro has a know problem when using many large photos. You may get a black or green screen instead of your picture if you use too many large pictures.

I find that using picture under 1500 pixels wide still allows me to zoom in without have these problems.

thats great..thanx for the tips gents! much appreciated :D

Is there a way in Prem Pro 1.5 to easily set the strobing effect to the beat of a music track?

One other part of this that you want to utilize also is rotation. I overlooked that for a few projects when I first started using this technique in photo montages. Don't over do it with big jumps or on every picture but but adding a very slight rotation like 15 percent back to zero over the length of the clip with a zoom can really make that picture pop in my opinion.

try playing with keyframes and the strobe duration

How does PPro 1.5 read the XL1s frame mode? Do I set parameters as progressive or interlaced?

I have been able to seperate two channels (16 bit) with Premiere but can any version of it seperate the possible 4 channels (12 bit) of the XL series, specifically the XL-1?

Relative Post:
www.dvinfo.net/conf/showpost.php?p=304162&postcount=8

I believe this app can do it during capture: Scenalyzer

Thanks Bill. I guess a better way for me to ask the question is how would it be graphically represented? In the Premeire audio tools, you can take left or take right to isolate channel 1 or 2. Even if my NLE was able to do it, my real concern is other clients that I just shoot for and they have their post facility cut the project. I certainly don't want to send them audio at a lower bit rate AND have it unavailable because their software can't seperate it. The need to do this just came up so I haven't had time to try it but I will in the next couple of days and report my results.

I have the pro version? Will I still have to track a new layer? I am still in the learning process, it is an overwhelming program with enough stuff to blow my mind.

I'm shooting a movie pretty soon, but I've got a few questions about working around my NTSC and PAL dilema.

I live in Toronto, so I want to have the final copy of my movie in NTSC.

However, There is a great chance that I'm shooting it partly with an NTSC GL2 (or NTSC panasonic PVGS70) and partly with a borrowed XM2.

What's the best way to deal with shooting in two region codes? I've heard that results in converting from PAL to NTSC can be bad, and vica versa. Then again, Adobe Premiere Pro (which I'll be editing in) is not capable of having a project that supports both video formats.

What should I do?

You can use this software for converting between PAL and NTSC:

http://www.dvfilm.com/atlantis/index.htm


Premiere Pro can convert from PAL to NTSC (and probably also from NTSC to PAL). Import the PAL video into a NTSC project.
But be aware that the picture quality will be much reduced.
I would only do that for home/family video.

Techniqually Premiere does support both by using the interpret footage option but I wouldn't recommend it. It slows down NTSC or presumably speeds up the PAL. I am an American in the UK and used this conversion to make great "old time boxing footage". The artifacting I got gave a great undercranked style to it. I think this was due to the very fast motion, the slower motion is much better, shrinking to PAL loses frames and during a fast punch or kick you only have a few frames so it mattered alot.
This doesn't answer your question but it may have some relevance towards the topic.
Get some footage from both PAL and NTSC and play around with it before you shoot. Find out if you are happy with the results. You may find that you are satisfied with the results in some situations and not in others. Then you can choose if and when to use both and which one in which scene.

What's the best way to deal with shooting in two region codes?

Just understand that "region codes" aren't really related to this. They are a copy protection scheme used on commercial DVD's to prevent them from being watched in countries they weren't released in.

Ok. So in theory, if I shot the entire movie in PAL, and burnt it to DVD, would it still play on most DVD players in North America?

If you burn a PAL movie on a DVD, it can only be used with players that support PAL. Most players in North America will only play NTSC, but multi system players can handle both.

Region code is not the same as PAL or NTSC. If you burn the DVD yourself, it will not be region coded.

I should probably mention that my film is mostly an action flick, and has a heavy reliance on fast motion. I'd probably run into the problems that Chris had.

I have QT7 for Windows "Public Preview" on a laptop that I don't use for editing...would like to install it on my editing box, but ONLY if it won't screw up the Adobe apps. Current version for Windows is "Public Preview 3".

Some initial reports indicated that QT7 does not play nicely with AE6.5.1. As QT7 clips now seem to be showing up more and more, wondering if there are any updated reports about compatibility (or NOT) with Adobe Video Collection applications?

I'm just finisihing my first HD project and will be sending the m2 to encore, but when I go to encode the project it will only give me 720X480. Is this the best I can get? This will be playing on a 60in plasma. Am I just missing something simple and what would be the best setting for this situation? It's only 13 min so disk size is not and issue. Thanks for your help.

I have some good news for you and some bad news for you.

Bad news first: There is no HD DVD format. Regardless of the television, the standard definition DVD player can only play 720X480 - that's it. Now, you can get wide screen by using a 1.2 PAR instead of a 0.9 PAR - but that's it.

I repeat - there are no High Definition Video DVD players on the market available just yet.

Good news: There is a special DVD player that plays data DVDs as well as video DVDs. So you can encode back to M2T and it will be copied to a data DVD where it will look fabulous on your 60" HDTV - for the duration of about 20 minutes. Or, you can use WM9 if you wish, to get a longer clip to play - up to one hour or more.

http://shop.iodata.com/shopping/products.php?cat=HNP&sc=AVEL&pId=AVLP2%2FDVDLA

If you do not use QT clips in your work, and never export to QT, then you are fine. Otherwise, don't do it!

This place is the best. Thanks for the quick reply. I just hit deadline and wasn't thinking about the no HD DVD players yet problem. Which led to my freakout on the presets in Premiere. It looks good at the 720 so I should be safe with that. Thanks again.

I really know nothing about this except I've come across some threads a while back discussing it, and I use the app Scenalyzer for OTHER reasons but I know some people use that app just to pull out the second stereo audio track. My understanding is that people who are doing this have to use a different app that seperates out the other two channels into a seperate stereo .wav file during capture. Then in your NLE, you bring in the video, which has the first stereo L-R pair muxed into it already, but then you have to bring in the OTHER stereo L-R from the .wav file that was created. Then you end up with two stereo pairs which can be then seperated into 4 mono audio tracks with the take left/right functionality. BUT, TAKE THIS WITH A BIG GRAIN OF SALT BECAUSE I'M GOING ON MEMORY HERE AND HAVE NEVER DONE THIS MYSELF.

Thanks Steven. It would be nice to export to QT7, but since it isn't my usual workflow, I ain't gonna risk it. Will wait for a fully compatible final release version before trying to export to QT7, and will just view downloads on my laptop.

Need some input. I have PPRO 1.5 and have learned alot from the Total Training teaser that was enclosed with the Adobe software. There are other Tutorials around on the internet which I've seen and sampled. I also have seen Steven Gotz PPRO 1.5 Tutorials which are alot cheaper. Looking at the content of Total Training and The Steven Gotz Tutorials I wonder which one was best. Has anyone had experience with both enough to give a comparison review? Any suggestions would be appreciated.

Thank You
Harry

I'll make it real simple for you. Jacob Rosenberg produced better tutorials for Total Training than I did for http://www.Lynda.com - he is a better teacher, younger, and better looking than I am.

His are expensive. Mine can be taken online. If taken within one month, the cost is only $25. His are only available for $249 where mine are less expensive at $149 or even less if taken online.

Total Training is the best there is. No question about it. Like Avis, I tried harder. But his are still better. There are more hours of training and go into more detail.

Mine are good, his are great. You decide. I don't need the money bad enough to lie to you.

I'll make it real simple for you. Jacob Rosenberg produced better tutorials for Total Training than I did for http://www.Lynda.com - he is a better teacher, younger, and better looking than I am.

His are expensive. Mine can be taken online. If taken within one month, the cost is only $25. His are only available for $249 where mine are less expensive at $149 or even less if taken online.

Total Training is the best there is. No question about it. Like Avis, I tried harder. But his are still better. There are more hours of training and go into more detail.

Mine are good, his are great. You decide. I don't need the money bad enough to lie to you.

Steven,

That is a gracious statement! Total Training is great and I endorse it to many, but I also know that when you and others do your training that different areas are covered with more detail. Some things you cover will be of great help, and they are not even mentioned in TT. The best way would be to have both!!!!!!!

No matter what program it is, mastering it is far more valuable than than the cost of the program. Programs are cheap compared to the learning and training that is required to master it.

Thank You Steven,

Mike

I am old enough to have learned that honesty really is the best policy unless it has something to do with if those pants make her you-know-what look big.

If I decide to do the tutorials for Premiere Pro 2.0 I will be better prepared to compete. But to be honest, I don't know if it is worth it. It really is hard work.

I am old enough to have learned that honesty really is the best policy unless it has something to do with if those pants make her you-know-what look big.

If I decide to do the tutorials for Premiere Pro 2.0 I will be better prepared to compete. But to be honest, I don't know if it is worth it. It really is hard work.

What I have learned over the years in teaching many things is the you have to understand what the student doesn't. In other words, you have to be able to figure out where the stumbling block is. Total Training and many other big training programs spend hours explaining the obvious and don't address the obscure.

Hey Steven, you are getting the house in Florida, so if I can help on PP 2.0 I would love it.

Mike

It is a long haul from Port St. Lucie to Clermont, but I will keep you in mind.

The problem is that Lynda wants things explained as part of creating a particular end result. So side trips down the roads of split screens and chroma keying are difficult.

You can do what I did, buy the total training set, watch it, take notes, than sell it when your done and make nearly all of your money back. Now I just have a PP book for reference, I have the basic knowlege if I get stuck I look at the book or go online for help. Good cheap way to do it.

Interlaced.

Lets say I have a project open in Premiere Pro 1.5 that is 24fps. Then lets say I have some 60i footage that I want to capture (to eventually convert to 60P and then slowed down to 40% to match 24fps). If I capture the 60i footage with my 24p project open, will this affect the captured AVI file? So will the capture dialog capture the video in its native 60i, or will it change it to 24fp, or even 30p? Note that this is BEFORE I drop it into my timeline.

In short, do the project settings affect or influence the capture?

I get an errror message when I try to capture from my pannasonic gs400 using Firewire. I have the camera on in playback mode with the tape stopped. Start Premier up, then attempt to capture. I get a brief-1/2 sec "Stopped" message followed by "Unable to Capture. Reset Camera." Reset never works. This camera/connection works fine with pinnacle Studio and Windows movie maker. I've played with setting, to no avail. Anyone else with this problem, or a work around? I'd sure appreciate any help/info. Thanks!

I sometimes have problems capturing from my XL1S to Premeire Elements. I have always been able to get it to work by one of the following. Turn off the camera, wait a few seconds and turn it back on. Reboot the computer. Remember to alway plug in the firewire connection before turning on the camera and turn off the camera before disconnecting because then you can blow out the port.

Hi Marc,

I'm doing a lot of experimenting with 24p with my XL2 and PPro 1.5.1 but have a ways to go yet. As best I can tell so far, the PPro capture module is pure 60i (even showing a 29.97 timecode for 24pA and 24pN footage) and so it shouldn't matter whether or not there is a pull-down scheme in the subcode that'll tell the timeline it is 24pA or 24pN footage. In fact, as yet even the Device setting (which camcorder is being captured from) doesn't make any difference at all; I've tried capturing both 24pA and 24pN footage using the XL2 it was shot with and a GL2, each done with both the GL2 Device Setting or the Panasonic DVX100p Device Setting, and it didn't seem to affect the captured file.

As far as putting the 60i footage on a 24fps timeline, I think you're better off to work with the 60i in a 30fps project using non-drop frame timecode base, export to 24pA, then import that to the 24fps. If you work with the 60i footage directly in the 24fps timeline, I think you'll probably get either a stutter when every 4th of the 60i frames is repeated to fill enough time for 4 of the 24p frames (five 60i frames), or with time stetching, there'll be interlace artifact introduced. Since you'll probably need to create a 60i project anyway, might just as well capture to it and keep the workflows separate until everything is 24p.

But don't take all that to the bank, because I'm early on in my testing. Maybe someone who has already worked more with mixed footage can step in here -- again, I'm still experimenting and trying figure out how "A" frame flags are handled and so forth.

Try uninstalling then reinstalling your program. This happend to me after I cleaned up my harddrive one time, I think I deleted somthing important. After the reinstallation it worked just fine. If you have not recently cleaned up your drive than this might not be the problem, just figured I'd throw in my opinion though. Good luck

I installed QT 7 (the first preview release, not the latest third preview release) on my Windows install I use for non-editing tasks, such as Internet surfing. I also have Premiere Pro installed on this setup as well, and I was able to export video to the QT H.264 format. However, I don't edit on this Windows install, and I don't have After Effects on it, either, so I can't say what, if any, ill effects QT 7 may have on these Adobe programs. I haven't installed QT 7 on my main Windows editing setup yet, and don't plan to until its fairly settled that QT 7 won't mess things up. Even then I'll have a Ghost backup to fall back on if something does go bad.

At this point I'd highly recommend against installing QT 7 on your main editing rig. The risk isn't worth it at this point.

QT7 is not compatabe with some After Effects programs. When I put in on my computer, AE could find a usable QT program and disabled it. I had to finally dump QT7 and AE. Reinstall QT6, then reinstall AE 5.5 again. I'll wait until that is fixed.

Mike

I made an opening sequence to a movie using after effects, when I tried to import it into PP it says "file format not supported". What does this mean? These two programs should support each others files, right? Is there somthing I'm missing?

I made an opening sequence to a movie using after effects, when I tried to import it into PP it says "file format not supported". What does this mean? These two programs should support each others files, right? Is there somthing I'm missing?

I have not used mine as much as I should yet, but I think you have to export the file as an AVI or Quicktime movie or another file option before it can go into PP. If you just save as... .it is an After Effects only file I believe.

Just click export and choose the file type. I hope this helps you.

Mike

I tried that and I can now import it into PP but it won't play in the timline. It will play in the right side of the monitor window but not playing it through the timeline.

I thought you had to choose make movie to render out an avi file to import into PP

I want to point out that my post was about editing both PAL and NTSC in one timeline with Adobe Elements. I also only talked about NTSC to PAL and not the other way around. I also only talked about conversions within the NLE and not outside it or indeed seperately before being added to the timeline.
I strongly recommend you experiment yourself. Pal may work perfect for you in NTSC. Think of every action movie you saw that was filmed in 24fps and converted to ntsc, they look pretty good to me. I only meant to add perspective to your dilema and by no means any concrete terms you should follow.
For action even some lower res. footage should allow you to experiment with PAl to NTSC artifacting and rendering based on action.

I tried that and I can now import it into PP but it won't play in the timline. It will play in the right side of the monitor window but not playing it through the timeline.


The best way to make the AVI file I can see is to click on Composition in the menu bar, go to Add to render que, then set your output to avi and where you want it saved and then render it. That makes a high quality avi file to inport to PP.

Add to render que is under the Composition tab, render window is under the window tab.


Mike