It seem like Josh don't understand why NLE softwares makers dont't integrate this feature directly in their software. I don't understand either.

i know that it is possible to get kind of film look on final cut pro by creating two tracks and then set ones opacity to 50% and then put deinterlace filters on both of them. But how can i do that in premiere? I cant find any filter where u can select either lower or upper field first?

Someone please clarify this for me, when importing 30p footage shot on a Canon XL2 does the Fields setting in Premier Pro setup as No Fields (Progressive) or does it remain at Lower Fields First (Default).

Thanks in advance,
MIGUEL

Sometimes a hard cut works and sometimes, when you want a hard cut it just too abrupt.
What technique(s) do you use to correct this so it flows better from scene to scene?

Thanks,
Bill

In my experience, during the times that hard cuts seem to be much too jarring, it's less of an issue with respect to the two individual shots than it is to the rhythm of the edit, the expectations of the viewer/editor while watching, the audio underneath it all and the emotional tones of the two scenes. Another, albeit slightly less important, aspect (at least to me) could be moving from a darker scene to a more brightly lit scene -- something that is a little bit jarring physically on the eyes.

Some things you could try would be to bring up a little bit of the audio from the second scene, perhaps the background noise if it's set in a restaurant for example, over the tail end of the first scene so when the visual changes, the aural setting is already in place. Another trick is to let the last shot of the first scene hold just that tiny moment longer before the hard cut so the viewer has fully taken in the shot and is ready for the hard cut to the second scene.

Just a couple of suggestions. Worse comes to worse, you can always fade between scenes which doesn't usually look out of place unless you do it a lot.



mg

Matthew,

Thank you for some great advice.
Being a DP I do not edit much, this is a group of jib shots strung together for a demonstration clip. I am not using the audio from the clips; I am using music in place of it. I did notice that the music helped most of the cuts, now I know why. I will try your other suggestions on the remaining clips. One advantage I do have is there is no particular order I have to show them in so I could mix and match as well.

Thank again,
Bill

When you registered Premiere Pro 1.5 with Adobe, you should have had the option to download the Magic Bullet plugins. If you did not register, I would reccomend doing so ASAP

I ended up reloading premiere, and the auto-save files worked, im glad they did.

Does anyone know if it's possible to ripple delete all the dead space on a timeline?

And for that matter, does anyone know if you can universally apply a transition to all clips? Like if I wanted to put a cross fade on every clip in the timeline?

Thanks again,

Rick

i received and captured footage from a sony camera, and oddly enough, the footage exhibited the same glitches. so now i'm even more confused. again, the glitches are seen during playback of the captured file and not during capturing, which i find odd because the signal i monitor is from the capture card, and not the deck, so i assume that the signal i see should be what the capture card is capturing. one guy in the canopus forum talked about firmware update- can you do this with dv decks? thanks.

If you have to go back and adjust clips your screwed if there is not enough video left either side of the clip.



(At least as of Pro 1.5...) There is an option to automatically add handles of xxx frames to clips. Nonetheless I always leave lil handles anyway until I know what I'm doing with a clip :)

In Project Manager, there is an 'Exclude Unused Clips' option. If checked it will dump clips that were "unused". However the online help doesn't mention what classifies as a clip that is (not) in use. Does anyone have a better definition? For ex, if it's not on a timeline it gets junked?

Also, has anyone opened a trimmed project and discovered that the sound for some random clip has been rerendered into a continuous half-second loop? It's not hard to recapture the clip and I don't complain when it just handled 300+ avi files with no other problem, but it is a curiousity.

Erg. I don't like replying when I don't really know the answer but I think there is a 'snap' feature in the timeline that can pull everything to the left. Check out the little magnet icon in the upper left of a Timeline window, I've never used it.

For the "apply an all-clip effect"... the first thing that comes to mind is to assemble all your clips in a sequence. Load that sequence into an empty sequence, and apply your effect to the prior sequence.
**Edit, I misunderstood the question, sorry, I don't know how to do what you are trying.

Ripple delete does just what you know it to do: Tightens the content to the right of the edit bar to occupy the spot where the deletin' is going on.

Dead space? Depends on what is in the tracks above. Lock those tracks to have them unaffected by the ripple delete, and everything to the right of the edit will jump left.

As for a default transition for every clip, you can do this with stills when you "automate to timeline".

Same for clips if they pre-exist in a bin perfectly trimmed. But that's rare. As you assemble edit and get the clips in the timeline nicely edited, go back to the start and assign a simple F10 or F9 key in keyboard shortcuts for "default transition"

Then when you start from home, alternate between the "page down" key and your new shortcut key and you can add about 1,421 transitions in approx. a minute using this technique. Be sure your target track is selected...

Thanks for the help guys, that saved me about 8 hours of work.

I was watching the sports network yesterday and they had some dirt bike stuff on, interviews, clips etc(the standard fare). Also all the editing between these shows, dirtbikes, bmx, skate etc uses this orange frame to i guess simulate 8mm look or somthing, it just comes in here and there etc. Now, i guess i can probably duplicate that look by just changing the color of strobe or somthing but the effect is different i think because it only turns orange on the corners of the frame, kinda like burnt frame, i'm thinking.
If anyone has done it, post up. I'm going to play in premere and AE to see if i can get it today.
thanx

I would also like to know if there is a way to ripple delete all of the dead space on the timeline. Not just between two clips, but to pull every clip on the timeline together without having to ripple delete each one.

Thanks

I'm editing some footage in Priemere that I want to add some effects to in AE, and then re-import back. I'm capturing via firewire from XL1s. How can I minimize the amount of compression? I usually export out of AE in uncompressed lossless mode. Is there a setting in Premiere I should be using?

I'm on Premiere 6.5 at the moment, but Pro arrives later in the week.

Thanks,

James

With the current versions of PPro and AE, you can import a PPro sequence into AE as a composition, so you don't even have to render out of PPro. As you do, thoug, when I render files to intermediates out of AE, I do always use uncompressed.

Great! The RTX 100 bundle arrives this week!

Thanks for the quick response.

James

I'm kinda wondering the same thing. You can see the same effect at the end of the Jarhead trailer.

http://www.apple.com/trailers/universal/jarhead/medium.html

its kinda like that it think...
so far what this has is just few frames of orange, darker and lighter and it shows it in two spurs, one after another(thats easy to accomplish). I think the stuff that i remember seeing is a little different, its like there is more colour on the corners of the frame and not so much in the midlle. hmmm

you have to make it in photoshop and after effects. basically you make your base image in photoshop... then you take into after effects and set your layer mode to screen or something (you will have to go through them to figure out wich one looks best). then make it flicker and what not. i found a tutorial on it once. i think it was called film burn, but i cannot remember.

wicked ..thanx cody!! i'll look into it

I've done this effect by filming some projected 8mm footage at the end of the roll. Just take that footage and overlay it with your choice of transfer modes. Voila!

I work for a production house whose primary business is wedding videos. Is it absolutely imperative that i use a progressive timeline if we are shooting with a Sony VX2000 and 2100 cameras (which shoot progressive video)? We've been using canopus dv storm 2 cards, which only operate under an interlaced preset, and have been getting horrible results with both our slow motion and overall picture quality. We're encoding with Canopus' procoder 2, using the mpeg 2 setting, CBR at the highest possible bit rate. the result is blurry video and the slow motion is choppy, almost like the video skips frames. I understand how slow motion works, but when we use 6.5, the picture quality is far better than anything we've ever seen with pro 1.5.

we tried a matrox rtx100, but the results were no better than what we got with canopus.

is how canopus works with 1.5 the problem? has anyone else been experiencing these problems?

thanks in advance for any information!

Andrew

Ive written between ur stuff...

I work for a production house whose primary business is wedding videos. Is it absolutely imperative that i use a progressive timeline if we are shooting with a Sony VX2000 and 2100 cameras (which shoot progressive video)?

((They DO NOT shoot in progressive modes.. only the XL2 and DVX100 shoot full framae native progressive. u can always convert to progressive in post, but youll be softening the image rather fierce... ))

We've been using canopus dv storm 2 cards, which only operate under an interlaced preset, and have been getting horrible results with both our slow motion and overall picture quality.

((Thats the Storm card for you.. actually the storm is a kick ass sytem, if configured correctly.. ))

We're encoding with Canopus' procoder 2, using the mpeg 2 setting, CBR at the highest possible bit rate.
((Errr.. if going constant, do NOT go over 7500kbps.. if going Variable, always select mastering quality, or 2 pass... but drop the highest bitrate down to about 8000))

the result is blurry video and the slow motion is choppy, almost like the video skips frames.

((No, its coz uve slowed the footage down too much and Storm may have issues with interpolating or blending newly created fields... ))

I understand how slow motion works, but when we use 6.5, the picture quality is far better than anything we've ever seen with pro 1.5.

((Thats coz the Storm really shouldnt be used with PP.... Canopus ditched PP in favour of edius, so working drivers for different PC configs are scarce.. stick with 6.5 and win2000 if ur using a Storm2... ur not really losing anything by doing this... ))

we tried a matrox rtx100, but the results were no better than what we got with canopus.

((seems more like your trying to get the units to do things their not designed to do..

need more info, like system specs

Yes, that was the reason for my post. Seeing if anyone agreed with me.

Hi all, I was adding a white transisition between 2 video tracks and having the white transition go the length of the 2nd video but for some reason it goes faster than the length of the 2nd video. I don't know how to sync them together even though I made the white transition the same length as the video I'm trying to wipe. The transition goes much faster. It works fine in Premiere Elements for some reason. Any way to fix this so it works in Premiere Pro?

Any help would be greatly appreciated!

I run previews of my editing on a monitor, through my camera, and until I upraded to premiere 1.5 I never had any problems with synchronization. Now however, the video on the monitor lags behind by about a second, compared to the image and sound on the computer, as well as the time indicator on the timeline.

I know that Avid has an option to delay desktop play by a set amount of milliseconds, but I haven't found anything like this in premiere. Any suggestions? It's really annoying working like this, especially since I tend to run sound seperately from the computer.

I never heard bfore that previewing with the camera was possible at real time.
the half to 1 second of delay sounded always normal to me.

Hey guys,
Quick question, I'm using premiere 6.0 and my stills don't seem very smooth when using a cross dissolving into video or another still. They are also choppy when I use the motion and zoom into them. I deinterlace them and fool around with the fields options but they are still not really smooth. Any help?

i only use scenealyzer for capturing, so i wouldn't know what the editing apps are capable of... if you are saying that things like premiere pro and sony vegas can't capture the second pair, yeah, i'd be disappointed if i tried doing it with those apps, and it didn't work.

at what point in the edit is it falling apart, and where are you watching the picture... computer or tv?

Watching it on a TV and then on all out put video files too. It's a choppy rendering type of thing. It happens through out the clip.

Hmm... It never occurred before, with any version of premiere. That means 6.0, 6.5 and finally 7.0.

Everything was completely real time and perfectly synched until I got 7.5.

I even used to run sound from the computer and video on the monitor and it was all in synch.

If your pics are stills from the video footage you can't zoom in on them as the qualitys not there.

If they are scanned photos or from a digital camera then there should be no problem with them at all.

If they are stills from the footage go into the field option and select flicker removal as this will help the picture a bit but you still won't have the quality to zoom in on the image.

When doing the the motion and zoom effects in 6.0, are you litterally using the motion settings? I'd suggest try using the Transform filter instead, you have a lot more control with it.

Scenalyzer Live is so far superior to Premiere's capturing that I wouldn't even consider using it if Adobe did add the feature to capture more audio channels. Scenalyzer is among the best money I ever spent for my editing suite.

Premiere Pro 1.5 is beginning to slow for me and I wonder if anyone has similar problems. I run a 2.4 ghz box with 2 gig of ram. The issues I run into a things like-
Project Manager hangs calculating project size (works after restarting Prem)
Project does not load (works after restarting prem)
Takes a moment (couple seconds) to change between sequences

The project I'm working on is usually under 100 gig and is pulling from up to 300 gig of tapes at any time. Yes that is big, I shot over 200 hours for the project. There are multiple documentary timelines that could be over an hour long, and music video timelines with tons of cuts. I haven't checked lately but the project probably works off of some 400 AVI files.

Premeiere is really taking it in stride, I must say, it still edits like a champ and the only time it's ever stopped or died was in Project Manager. 100g is the biggest the project can ever be. I just delete worthless footage then do Project Trim's, reload the 300g with more "tape" then start over again. However the problems with loading/managing/etc make me wonder if I'm coming close to some kind of limit. Thanks for any advice!

I have footage where the camera got hit and I want to make it look like the tape cut out for a second. (Think of the part in "Jackass" the movie where a golf cart drives into a camera by accident.)
I have a couple ideas involving keying out an animated mask, putting a still of the video behind it, and maybe adding a decimate effect or similar, but was curious if anyone has done something like this.

**Edit: this played out slick in my mind, but the sequence is so fast that having it in there would confuse viewers. It worked on Jackass since they drove towards the camera for a few seconds. Still interested in what people do, certainly I'm not the first to have pondered this :}

Does anyone have a better definition? For ex, if it's not on a timeline it gets junked?
That's my understanding of an unused clip. I don't know what else it would be.


Also, has anyone opened a trimmed project and discovered that the sound for some random clip has been rerendered into a continuous half-second loop?
Hasn't happened to me yet.

I don't think the total size of video files really matters in the responsiveness of PPRO. IMO, it is more a factor of the number of source files (not size), the number of cuts, effects, keyframes, etc.: in other words. the complexity of the project. The size of the pproj file would be probably be a better indicator than the size of the video folder. In your case, 400 AVI files isn't a whole lot, so I doubt this is the problem. I've had many projects with thousands of video files. I tend to do edits with lots of short cuts, so even a 5-min short will have hundreds of cuts. Anything longer easily goes in the thousands.

For me, the same project will slow down once I start adding A LOT of audio and video effects, even if they're all rendered. But multiple-nested sequences is easily the worst offender. It gets my P4 (2.4Gh, 2GB RAM) to CRAWL.

So, when you ask what's the biggest project PPRO can handle, I'd look at the size of the pproj file first.

Good point.
Last time I looked, the project file was about sixteen meg. Ironically it just quit loading, giving me some starsky c++ error.
"Don't Panic" is the thought of the moment, but it's a thought rather hard to apply.

I had a monster project that when trying to load, would report a scary looking:
\dev\starsky\Libraries\Asl\Foundation\Src\PathUtils.cpp-213

This usually means your scratch disks are ill-defined, messed up, or something. The fix is:
-Start Pro and load a blank project.
-Make sure that it's scratch disks, and preferences in general, are set to sensible parameters.
-Import the project that you could not get to load.
-You probably need to tweek your windows and stuff a bit but your sequences and clips will all be there.
-Fix yourself a stiff drink and bask in not having to recreate past days at the console.

I can't take credit for this, it was found here:
http://adobe.groupbrowser.com/One_Serious_Error_Message_Solution-t42819.html
Just had to share, since this tip just saved me Two Irreplaceable Days of hard work. The reason this happened to me was because I did something unmentionably stupid with my scratch disk settings. Premiere put up with it too, but eventually it fell down and I thought I was stuck using an old backup. Now I can sleep soundly (right after that stiff drink)

Does anyone how to import a power point presentation into PP 1.5 and have it play on the timeline. We are having trouble doing this, it seem sthe only way in do it in stills, but we need it to play as it does in Power Point. Is this possible?

Thanks !

Chris Vaglio
Grey Sky Films

I've done hour-long things before, and just for the sake of sanity I like to break them down into quarter segments or wherever a break would suit me best. Definately helps Premiere run faster.

If doing screen shots in PPT, or "Save As..." to jpg or bmp isn't practical, you could try the software suggested in this thread:
http://www.dvinfo.net/conf/showthread.php?t=45326&highlight=PowerPoint

You could try importing the PowerPoint presentation into Microsoft Producer, and then exporting it in a video format. Microsoft Producer is a free add-on for Microsoft PowerPoint. You can learn more and download it at http://www.microsoft.com/office/powerpoint/producer/prodinfo/default.mspx

Thanks for sharing the tip. I haven't experience this myself, but hopefully it will save others from tearing their hair out in frustration should they encounter it.