I have been noticing a lot of video quality problems ever since I switched from Premiere 6.5 to PRemiere Pro 1.5. For example,footage that seemed fine before I switched now has jagged interlace lines,among other things.I have looked at the preferences and settings,and it seems that everything is as it should be. If anyone can help, please reply.
Thanks,
Mike

In the Adobe Media Encoder, check the box next to "Pre encoding tasks." In the "Add filter" drop down list choose DeInterlace. The filter will be added to the bin down below. Click on it, and set the De-Interlacing Field Order to Upper or Lower. There will be a preview window below, and you can scrub through your project to see the results. Note that pre encoding tasks don't seem to be saved in Adobe Media Encoder presets, so if you save a preset you will still have to add the De-Interlace filter the next time you encode a streaming video.

EDIT: Oops, sorry, for some reason I thought your interlace problem happened when you were exporting to streaming media. Rereading your post, I see this is not the case.

Where exactly do you see the interlace lines? In the preview monitor in Adobe Premiere? Do you have an external TV monitor attached? If so, does the footage look okay on it? Have you tried exporting your project to tape or DVD and playing it on a TV? The preview monitor in Adobe Premiere should not be trusted as the final word on the quality of your footage by any means.

Does anyone know if Adobe is working on Premiere for an operating system besides windows, preferably Linux? It's possible to someday "emulate" the windows version using wine. I've done this with limited results on Premiere 6, but I'm afraid support for Pro1.5 is some time away.

One can't blame Adobe for catering to Redmond, as nobody has lost their job for going along with Microsoft. It is a bit sad however, especially when the first version of Premiere I used was a Mac product.

Does anyone know if Adobe is working on Premiere for an operating system besides windows, preferably Linux?
I highly doubt it. I don't believe the Linux market is nearly big enough for Adobe to pursue right now. If they were willing to drop Mac support, do you really think they would consider it worthwhile to go for Linux?

As for emulation using Wine, I've never tried it myself. However, considering how difficult it can be sometimes just getting such high-end NLEs as Premiere Pro to work under the operating systems they were specifically written for, I have my doubts. Video editing is a complex and resource intensive task that depends on many things working correctly. Of course, you could always give emulation a try. If you haven’t already purchased Premiere Pro Adobe has a tryout version available for download on their Web site.

I've looked all through the worthless Adobe Help file, but I can't find it. I have dual monitors, both work and with other software, I can slide things over to the 2nd monitor. With PPro 1.5, I can't get anything to slide over. Where do you set it up for dual monitor, or undock, or what ever. I know I've seen this discussed before, but I just installed the demo version of PPro, and I can't seem to find those threads. Thanks, PK

Every version of Premiere I have ever installed simply required to be semi-minimized, then stretched across the workspace. Then save the workspace. This feature might be disabled in the demo version, since you won't be exporting anything.....

Every version of Premiere I have ever installed simply required to be semi-minimized, then stretched across the workspace. Then save the workspace. This feature might be disabled in the demo version, since you won't be exporting anything.....


In the tryout version of PPro, the intermediate size box (the one between _ and X) that toggles between full screen size and intermediate size ) is greyed out and you can't seem to do anything with it. Is there not some sort of setup or preference area to set these up? If this is inactivated in the demo version, then its not very easy to see what the workflow would be like w PPro.
I have Premiere Elements, and the only windows I can get to move to the second monitor are the history and the audio meters. I assumed ot was just cause Elements was the amateur version, but I know in PPro people use multi-monitor setups. If only all these software engineers would standardize basic navigation and setup functions:-),

If you are running with an nVidia graphics card make sure to set the nView Display Mode to "Horizontal Span." When this is done there is no need to semi minimize Premiere Pro and then stretch the window across both monitors, as both monitors behave as one monitor.

I'm not sure what the similar setting would be for ATI cards.

I have Premiere Elements, and the only windows I can get to move to the second monitor are the history and the audio meters. I assumed ot was just cause Elements was the amateur version, but I know in PPro people use multi-monitor setups.
Making the change I outline above for nVidia graphics cards (or the corresponding change for ATI cards, whatever that is) may fix your dual monitor problem with Premiere Elements, too.

Okay Christopher, I sure appreciate tha tid bit. I have a Nvida card, so I know how to switch it. I had just always assumed that most people (like me) would prefer the other dual monitor mode - ie. the task bar is only on Mon #1 versus the "horizontal Strech" mode. It is preferable to me, cause unless I'm editing or playing Flt sim :-) I usually just have mon #1 on. In the "Horizontal Span" mode the taskbar, and any window that I should accidentally click the full screen button will expand accross to the #2 monitor - which is normally off. Oh well, I guess there are limits to all this great technology, Thanks for your help!

P.S. How come adobe lets me slide the History & the Audio Volume VU meters over to the other monitor, but none of the other windows, effects, monitor, etc. will go over. You can slide them about 1/2 way off of mon 1 and thats it, there they stop - not even peaking out onto mon 2. Hey Adobe, why not let the poor bum that paid big $$$ put his PPro windows wherever he likes?

P.S. How come adobe lets me slide the History & the Audio Volume VU meters over to the other monitor, but none of the other windows, effects, monitor, etc. will go over. You can slide them about 1/2 way off of mon 1 and thats it, there they stop - not even peaking out onto mon 2. Hey Adobe, why not let the poor bum that paid big $$$ put his PPro windows wherever he likes?
That's odd. I have my nView settings on "Horizontal Span" and I can put whatever Premiere Pro windows I want on the second display, including the video preview window.

I found that when setting up for my new dual monitors, it was a simple case of dragging the prem pro base window across to fill both monitors manually. Then you can move each little window to wherever you want. Simply save as a workspace and all is well.

it says cannot find valid editing mode when its starting up. can anyone help me cuz i have no idea how. thanks in advance

Peter

You say that the eror appears on starting up, but at what point? Is it when you load a project, when loading drivers etc? Has it worked before?

What version of Premiere are you using?

Do you get an error message? does it allow you to use Premiere or does it quit to Windows?

Your best bet is to re-install, making sure you un-install first.

Cheers,

it happens when that window of loading different file shows up and it just quits back to windows. i have tried reinstalling and it still doesnt work. this is a 1.5 version im talking about here and iv used it for a long time. however, i havent touched the program since the last project was finished (5months ago) and now this appears..im thinkning maybe my registry? but i have no clue wat i need to do to fix it. cant even get into the program nd it just pops that error message at me..sigh

I believe this is a codec problem.
If you have installed any codec packs (such as Nimo), try deleting them and then running prem pro.
I had this problem and eventually (after deleting ALL my codecs and only re-installing important ones) got it to work

ok ill try that thanks

thanks alot guys, it was the codec problem after all haha.

haven't used premiere in almost a year. When trying now I can't get the window/workspace (editing, audio, etc.) to work. Anyone else have this same problem?

haven't used premiere in almost a year. When trying now I can't get the window/workspace (editing, audio, etc.) to work. Anyone else have this same problem?

Jay,

I'm not sure what version you have, but try going to top bar and clicking:

Window/workspace/ and then one of the choices like editing, audio etc

If you setup your own custom workspace, as most do, you can click on that.

I hope that helps you, but you were not very specific on the exact problem, so post more info if this does not work.

Good luck----Mike

That's exactly what i'm doing. It doesn't seem to work anymore. The different windows are just scattered about. All small or oversized. Not organized.

That's exactly what i'm doing. It doesn't seem to work anymore. The different windows are just scattered about. All small or oversized. Not organized.

Jay,

Try this, I just relearned it from Christopher. Double click to open Premiere, and then hold down the shift key, so it loads with the shift key held. That resets all preferances and may clean it up.

It's worth a try.

Good Luck again-----Mike

Figured it out. I have since purchased new monitor and it is 19 inch instead of 17 inch. Had to change resolution to 1024x768. Now if i can figure out what happened to previous projects and music that was in them. Says music on cd or in win media player is format not supported. Imported same song in wave format before.

Any ideas

Figured it out. I have since purchased new monitor and it is 19 inch instead of 17 inch. Had to change resolution to 1024x768. Now if i can figure out what happened to previous projects and music that was in them. Says music on cd or in win media player is format not supported. Imported same song in wave format before.

Any ideas

Don't know if I can be much help there. If I run into that problem, I open the file in Adobe Audition, and then save as another form. So if you have an audio editing program, that might work.

Mike

figured that out too. Had originally ripped the music file as wav, then to mpeg3 for project. At some point deleted or put file in another folder(who knows why). It couldn't read it from the destination as an MP3 so....

Just moved the file to it's original adobe hiding spot and viola.

Thank you very much though for your help and response.

Jason

Ever had an issue with the scroll on the effects window turning to a left to right scroll instead of up and down? I do remember many people having this problem and there was a bug fix. But, like I said, it has been so long since using this software that I have forgotten that too.

Thanks,

Jason

Anybody using a color coded keyboard for premiere pro?

like this one:

http://cgi.ebay.com/WorldTech-Specialist-Keyboard-Adobe-Premiere-Pro-NEW_W0QQitemZ5820174948QQcategoryZ4706QQssPageNameZWD1VQQrdZ1QQcmdZViewItem

What do you think of it?

I use a color coded keyboard made by Logickeyboard and i love it and will never ever change back to my old keyboard. ( http://www.logickeyboard.com )

I am sure that you are going to love it as well. The keyboard is worth every $.

/Roger

A cheaper alternative are these:
http://www.editorskeys.com/

and a review:
http://www.videoforums.co.uk/guide-editors-keys-87.htm

A cheaper alternative are these:
http://www.editorskeys.com/
Correct, but be aware of that the stickers start to fade after a couple of weeks. It happened to me...

/Roger

Why in the world do these manufactures not make these things ergonomic.

Okay, I'll run ya through it. First, you take a hammer... Wait. I remember that method not working very well.

One way to get some weird dropout style stuff is to connect your camera to a TV and record white noise/static. Then apply the zaniest effects you can, all really fast, one after the other.

If I understand correctly, there is no way in Premiere Pro 1.5 to unlink your complete timeline, as in FCP? You first have to put your clips, and only THEN you can unlink them, but you can't just press an unlink button, and then place them, and begin with moving them seperately?

If so, the way of FCP is a bit handier (don't know if that's the correct english word)

Not exactly sure if it's what you're trying to do but... You can take either 1. The Video and Audio linked or 2. The Video alone or 3. The Audio alone from the monitor window.

I don't know of any way to unlink multiple clips on the timeline though.

whilst you cant unlink multiple clips at the same time, if you hold down ALT (or CTRL can't remember which!) when selecting either video oor audio it selects JSUT the video or Audio even if linked.
What i mean to say is, if you wanted to, say, delete the audio from 5 clips, rather than have to unlink each one in turn and delete the audio, you can hold down ALT (or ctrl!) and select all 5 audio sections and delete in one go.

Does that make sense?!

Roger, I was not aware of that - I heard they were kind of plasticy but if they fade pretty quickly, maybe it's false economy buying those do you think?

I have a great one that I use for FCP. It set me back 250, but it was one of the best investments i ever made. Everyone I know who has one, would never go back.

It's like that old saying, "once you go with a color coded keyboard for all of you non-linear post production editing, you never go back."

Or something like that...

Bryon <><

...but if they fade pretty quickly, maybe it's false economy buying those do you think?
In my opinion, yes. :)

/Roger

You can always just import the video from your source window and then switch to audio and import that and they stay seperated..

But not you can't select all and unlink..

Recently I wanted to add a second monitor to my editing setup (using XP, Canopus DV Raptor, Premier 6.5). Like many of us I craved more visual real estate.

I went to a shop and had them add a video card that would allow a second monitor through a DVI slot. We then tested it out and all worked fine with programs like Photoshop, allowing me to spread workspace across two monitors (e.g., photo on one monitor, menus on the other).

I then tried this with Premier 6.5. We could not get it to spread a timeline across monitors, or to place a project bin in one monitor and the timeline in the other.

I thought that perhaps this was a problem with my using a Canopus DV Raptor card, but the folks working their website said no, it should not have interfered.

So I am guessing that (a) I am missing something, or (b) there is a limitation in Premier 6.5 that prevents spreading across multiple monitors.

Anyone else experience similar or differing results?

Thanks!

Daniel Fitzpatrick

when ever i attach a camera via firwire, the sound doesnt work any more when i play video in premiere. reseting the computer and premier doesnt help.
is this a common problem?

If you are using Premiere Pro, go to Project > Project Settings > General and click on Playback Settings . Under Audio Playback, change to Play Audio on Audio Hardware

/Roger

Guys and Gals

A marketing guy says one of my videos looks dark on his laptop, it looks fine on my premiere machine and on my own laptop. Is it possible to use the vectorscopes to check my black level and other brightness data so I can check scientifically if my video is "dark".

Cheers

Ben

Ben,

The Y/C Waveform would be the one to check. However, this would hardly be conclusive. You could have legal black and white levels, but have a low overall gamma, and the footage would appear dark or underexposed.

However, the Premiere Pro scopes are dubious, in any case. They are labeled in IRE, which is an analog, not a digital measurement (How do they do that? They can't!). It has a switchable 7.5 IRE Steup setting that just manipulates the scope and not the footage, although there is no Setup in digital video. It's all very misleading.

Are your computer monitors calibrated? To what standard? Are you working with a calibrated NTSC monitor, as well? You can't really trust a laptop display, only a calibrated NTSC monitor. That's what your footage will really look like, in any case.

Josh

Here's a question that's probably already been answered but for some reason ever since the website changed, I can't use the search function here. I click search and nothing happens...anyway -

I've got a bunch of projects to do where I will have equal parts 24p footage and 60i footage which will need to go in the same timeline. If I start a 24p project in premiere, then I have to render all the 60i...same thing in reverse. Is there a way to fix this so I can work with both types of footage in the timeline without having to render all of it? Thanks again...

Rick

Ben,
However, the Premiere Pro scopes are dubious, in any case. They are labeled in IRE, which is an analog, not a digital measurement (How do they do that? They can't!). It has a switchable 7.5 IRE Steup setting that just manipulates the scope and not the footage, although there is no Setup in digital video. It's all very misleading.
The fact that they are labeled with IRE doesn't make them any less accurate. Just make sure the 7.5 IRE setup switch is off. I don't think any of us would color correct differently depending on what the unit of measurements are labeled in the waveform.

Christopher,

Please see this thread (http://www.dvinfo.net/conf/showthread.php?t=45073&highlight=premiere+pro+IRE) and this article (http://www.kenstone.net/fcp_homepage/video_levels_nattress.html). It is inaccurate, because it is not possible to measure IRE (a measure of voltage) based on digital data.

It would seem that digital value 16 corresponds to Premiere's IRE 0 (with the Setup checkbox unchecked), and digital value 235 corresponds to Premiere's IRE 100. Is it just linear between those values? It's not really documented.

Josh

The long and short of it, I don't think there's a way around rendering, but if you figure something out let me know. I've been looking for a solution also. I have a similar project (a short film) that I'm editing where 1/2 the footage is in 60i and half in 24P.

Originally it was all supposed to be 60i and then converted to 24P using Magic Bullet, but after filming the first scene the production was able to get a new camera and shot the rest natively in 24P. Since the footage in my case are completely different scenes, I'm editing them in different projects. One 60i and one 24P project. When I'm done with the 60i material, I'll convert it to 24P with MB and then import that into final a 24P timeline.

This at least lets me edit and fine tune each scene without rendering, but doesn't allow me to see the whole project until going through this process. But it's the best workflow I could figure, and it certainly beats converting and rendering the entire short film.

Hope this was useful.

Rick,

How did you shoot your 24p? On which camera, in which mode?

If you shot in 24p Standard, which is a 60i stream with 2:3 pulldown inline, then you can just edit that and your 60i on a 60i timeline. Render out 60i. Your all set, it will edit right in.

If you shot 24p Advanced, with 2:3:3:2 footage, that won't look right in 60i. You can use DVFilm Maker to remove the Advanced pulldown and add Standard pulldown (two steps, unfortunately), and then edit in a 60i timeline with the rest of your footage. Actually, you can probably do the pulldown conversion in Premiere, just open the 24p file and do an Export/Movie, and select the right format.

Josh

Joshua,

I understand entirely that IRE is an analog measurement. We've been over this before in this forum (I've participated in at least one discussion on the matter, and have read Graeme's article).

My point is that labeling the grid on the waveform in IRE units has no effect on what is actually being displayed on the waveform. The waveform is going to measure and display the same waveform from the video footage regardless.

As I noted in the discussion in which I participated (http://www.dvinfo.net/conf/showthread.php?t=45073), on all software waveform scopes I've seen so far, IRE or no IRE, a 0-100 scale is still used.

It would seem that digital value 16 corresponds to Premiere's IRE 0 (with the Setup checkbox unchecked), and digital value 235 corresponds to Premiere's IRE 100. Is it just linear between those values? It's not really documented.

I haven't tested if it is linear, but here is a test I performed from the thread above:

"I created a graphic in Photoshop with black sections at 0,0,0 and 16,16,16, and white sections at 255,255,255 and 235,235,235. Both Premiere Pro's and Color Finesse's scopes (in After Effects) gave identical results. 0,0,0 showed as 0 IRE (or %, if you wish); 16,16,16 about 7.5 IRE; 235,235,235 as 92 IRE; and 255,255,255 as 100 IRE. Apparently, both Premiere Pro and After Effects convert the 0-255 RGB space to the 16-235 video space, just like Final Cut does (see the section titled "Still Image Import" near the end of Graeme's article)."

It would seem that digital value 16 corresponds to Premiere's IRE 0 (with the Setup checkbox unchecked), and digital value 235 corresponds to Premiere's IRE 100. Is it just linear between those values? It's not really documented.

Inspired by your question, I just conducted a test to see if the value is linear between those values. I created two images in Photoshop. One was a gradient from 0-255 on a 50% grey background, and the other was a gradient from 16-235 on a 50% grey background. I then imported both into Premiere Pro and examined them on the waveform monitor, with the 7.5 setup display option off. You can see the results for yourself by looking at the images linked below.

0-255 Gradient on a Premiere Pro 1.5.1 waveform scope (http://www.jesusredeemed.us/c_linked_images/PPro_0-255_gradient.png)


16-235 Gradient on a Premiere Pro 1.5.1 waveform scope (http://www.jesusredeemed.us/c_linked_images/PPro_16-235_gradient.png)