Are you on old 6.5 or PPro? Old 6.5 would deal with .jpgs for days then suddenly go black - so I just took to using .tiffs for them. In PPro1.5.1 and now 2.0, it deals with my .jpgs fine. Prem6.5 had a 4000 pixel limit. I suppose HD capable PPro has a limit too but it must be quite high. My routine digicam pics are 3072x2304 and they size and zoom beautifully in my HDV projects.

If you do zoom out enough to not cover the frame, don't forget to put "new item"/"black video" under them...or you may get that ugly green on the edges.

I got After Effects and Premiere Pro 2 on a student discount separately, but is there anyway to use Dynamic Link, or an equal substitute, without having to purchase the entire Prouduction Studio?

hi all,

I have just started to shoot Xl2 for 1 months and now I tried to capture the footage to comp with Adobe premiere pro 2.0. The picture is PAL 16:9, 25p. in capture settings, there is no progressive sd or 25p.so I set 720x576 wide screen 1.422. but where XL2's native 960x576 image goes ? does it downrez to 720x576 wide screen or it keeps its resolution ? whats is the basic settings for capturing XL2 16x9 25p footage in Adobe pemiere pro2.0

thanks

Unfortunately, no.

While the XL2 has 960x576 pixels on the CCDs, it only records to tape at the DV standard anamorphic 720x576 (PAL) resolution.

I'm not sure about PAL, but in NTSC there were presets for standard and widescreen DV at 60i and 24P.

I've been thinking that if I do a music video where the entire video is just of the band playing in one location with no narrative, I'd film the band playing their song through 10 or 12 times from a different angle and cut from those to make a music in the end. If I could use more than four video tracks in the multi-cam mode, this could make editing that type of music video as easy as watch-and-click...Is there any way to do that though? Taking more than 4 angles, watching each of them in a separate monitor and clicking on each monitor to switch angles?

You can do the main four. Then add it footage from the next three, then the next three, etc.

If you look closely, you will probably find that there are only a few shots outside of your favorite four that you really want to use. Get the major cuts done, then add in the other footage.

Of course, remember to take the time to submit a feature request to Adobe to add more camera angles. They might listen.

It would be a good feature, I think. You'd be able to have something edited in a fraction of the time it takes to manually take each clip and cut it.

I'm thinking that there'd be shots from the less frequent angles I'd want to splice in between stuff from the main four...It would be good to edit everything in order. For instance, I might have only one shot from the second batch of multicam shots I'd like to be with the primary batch.

using PP1.5, to edit a PRACTICE short. and I dont have much experience with altering/sweetening sound. So that being said, I would like to alter some kids voices when they become zombies. Being that this project is just for practice, I am trying to not spend anymore money to complete it. So what is the easiest way to give there vocies that deep/scary sound? Within the audio effects that come with PP1.5, Ive used the pitchshifter filter and that sounds okay. Is there another filter I could use, or another one to apply with pitchshifter? Is there other (free) software that could do the trick? Or if I need to pay, what other software out there is easy to use/learn?

wheres a good place to buy/get sound effects to emphasize certain scenes
thanks
ruben

No one has responded to this problem I am still having, plese help me out if you have any ideas

Hullo!
Just when I've started to post-process my first digital movie, problems started to pour in. You may not find this problem as annoying as it is to me, but here goes :

My camera is uncontrollable from the PC in Adobe Premiere 1.5. The timestamp does update when I'm rewinding or forwarding, but buttons like play, forward, stop are inactive and do nothing. I tried changing the options, but nothing works.
The weird thing is that the device control works in all the other programs, including Windows Movie Maker or WinDV.

Has anybody got a clue? I'd be thankful for any response.
-X

Hi daniel,

Have you set the device control in Premiere. Generally generic DV should do, if your camera is not on the list. If movie maker and other Dv controlled software can detect it OKthen Premiere should be fine also.

What camera are you using?

What settings/ configurations have you tried?

Cheers,

Perhaps nobody responded because you never said which software you are using, or what kind of footage, or what size the frame is (widescreen or 4:3), or if the problem happens when you skip using the Matrox, or if you upgraded the Matrox drivers to match your version of software?

My audio page has links to lots of free sound effects. Start with FindSounds.

Try applying a little echo, some noise, stuff like that.

As you can see, the problem starts when slowing down.
I only make it 80% and the picture starts to get some stroby effect. Even if I deinterlace it in Premiere, I again get this annoying efect.
On TV it looks like I the interlacing is going slow. (well it is, but I worked on lots of cheaper and worse editing softwares which could make slow-mo better.)
I read that Premiere is not so good with slow-mo, but it's hard for me to give up on Premiere,
because I used it so much, so wanted to see how you guys handle this.

Any advice more than welcome...

OK, after reading some old posts, realized it's a known weakness and that possible solutions are 3rd party plugins or going to AfterEffects which does it better.

My question is how you do it in AE.
Not meaning what's the procedure, but for example a wedding 'walk in the park' intro.
Do you take all the footage into AE, slow it down and then edit in Premiere, or do you do the editing in AE.
Because I'm much slower in AE so, want to know if I practice will it make it faster or it's just the way it is?

so capture setting should be 25p with widescreen 720x576 1.422 is the way ?

and there shouldnt be any manual setting like 960x576 ... is it ?

alkim.

check out www.goldwave.com there is a free trial download, that is limited by the amount of actions per session. I believe it has a mechanize filter and some others that may do what you want.

I edit with Premiere 1.5 on both a laptop and a desktop and keep all my files on a Lacie 250gig external. Since I switch back and forth between computers I set my preview files and conformed audio files to Same As Project, so everything is on the external. Because I've rendered then changed then rendered a lot, I thought I could save some space by deleting all my preview files and doing an almost final render. However, ever since I did that both my desktop and laptop are boggy, like it takes a second to catch up every time I click to do anything, which is really annoying. I'm almost done, but has anyone experienced this who knows a cure? What if I just stick to my desktop and change my Premiere settings to save the preview files and conformed audio to the desktop hard drive and keep all my video files on the external, then let it reconform all audio and rerender it? Think that would help? I may give it a try, but just wanted to see if anyone has been through this.

I happen to use n-Track Studio (http://www.fasoft.com/) for everything that my sound engineer doesn't do (he uses Cubase SX). I like n-Track, even though the interface can be kludgy...

The only time I see this (in PPro 2.0) is when I am previewing the video while on the Effect Settings tab. If I switch over to the Effects tab, then it clears up. I don't have any fancy hardware like a matrox card or anything, so that's probably why I get studder. Could it be something like this in PPro 1.5?

Without knowing all the details, I assumed that you rendered out your project about midway or so, and then reimported the newly rendered files and continued to edit? Did you start a new project? Did you import the newly rendered files into a new sequence? I'm not following you here, so I'll take the shotgun answer approach:

The best performance is to have a seperate drive for your video, and another drive for your audio and effects, and neither of them on your system drive. (Yes, three drives -which is also the case for most editing stuff out there). I usually write my effects/previews to a fast array. (Conformed audio files eat alot of disk space).

As you ramp up the number of edits, sequences, etc, the process will slow-down, especially in cases of low ram, and disk access increases. Another thing to consider is that drive performance will also take a hit when the they fill past the 50% mark, and/or become fragmented.

I've also had issues with some corrupt previews, and simply deleting the preview files and rerendering did the fix.

Marco, check out goodervideo.com, they are selling a software named MotionPerfect (free trial download) that adds additional frames to your footage. Let me know if you test it, I am curious if it works for your needs.

I have an Encore project which has a Premiere Pro AVI in it and nothing else. This AVI is about 850MB.

After I set the build off I noticed that a total of 263MB is going to be written to the DVD.

Why doesnt Encore utilise the rest of the DVD's space? The transcoding settings are on auto and the bit rate for the AVI is 8.6.

Surely compressing this AVI down to 260MB is going to degrade it alot, which seems unneccessary when it has over 4GB to use?

The DVD specification includes a maximum bitrate for the mpeg2 file (9.8Mbit/sec I believe).

Not all standalone players can play a higher bitrate than that smoothly, even though from a compression point-of-view it should be better quality.

I have been trying to find a way to change the write speed of PP2's DVD authoring module. I cannot find a way to do this and it burns the DVD at maximum speed and I get a lot of errors on the outer edge of the disc.

When I just make a ISO file and burn it slow in Nero I get good results. Is there a way to adjust the speed in PP2? I would like to just burn the disc directly from there instead of the extra step.

I have a serious complaint with Premiere Pro 1.5. Inexplicably, every single time I open a project, it makes me manually select every single file it is looking for, even if they are all in the same directory. Why can't it just look in the working directory where they were last time (and still are) and then just load them again, rather than making me click on each and every file. Is this really what PPro was designed to do? Is there a fix/workaround? If not, I may have to consider switching to FCP.

I have a serious complaint with Premiere Pro 1.5. Inexplicably, every single time I open a project, it makes me manually select every single file it is looking for, even if they are all in the same directory. Why can't it just look in the working directory where they were last time (and still are) and then just load them again, rather than making me click on each and every file. Is this really what PPro was designed to do? Is there a fix/workaround? If not, I may have to consider switching to FCP.
This happens when to me when I move the files to another drive, and even though I may have the project file on the new drive, the Project file tells it to look in the old directory. It would seem to me that if you opened it once and designated all the locations, and then saved it under as a new project name, your problem would be solved. Have you tried that ?

Believe it or not, I hadn't thought of that. I will give it a try. Thank you.

I have a few general questions regarding color correction.

Q-1) do you get more accuracy from a analog Waveform monitor vs. a software plug in like Color Finesse?

Q-2) Does Premiere Pro-2.0 have built in Waveform monitors and vectorscopes like Color Finesse.

Thanks...

1- Yes*.

An analog waveform monitor will be able to monitor the analog levels, where CF can only measure the digital levels. This difference is important, because many devices will incorrectly convert from digital to analog (the majority of DV devices will do things incorrectly, putting digital black level at the wrong analog black level). That applies to NTSC (except Japan), and not PAL.

If you are mastering to a digital format, then analog levels don't really matter. Just make sure the digital levels are correct- CF and Ppro can do that.

2- Yes.

Actually you be able to open the project, link all the media and then save the same project. Now so long you don't move anything again it should keep the link information to the media.

Perhaps your project file is corrupt, which then saving as a new one may solve the problem. The other way is create a new project and import your old project file into the new one.. Then save that way..

Premiere's a good editor.. If you have Encore let than handle your DVD Encoding needs. But AFAIK Write Speed isn't an option in PPRO2.

You would just have to make sure your system could handle realtime playback of 8 video streams + the cutting into the final timeline..:)

Hi everyone!

I have been checking these boards for advise for quite, but only recently I decided to plunge and participate.

I am a multimedia producer, and have been using Adobe Premiere since 1995 (time flies!) Since 2001 I have used a Canopus DV Storm2 capture/editing board, which has allowed me to improve the speed of my SD DV productions. Things started to turn sour when Canopus decided to dump full support for Premiere Pro in favor of their new Edius editing software. Long time, faithful users of Adobe Premiere felt left out to dry. The Canopus DV Storm2 board still works well with PPro 1.5... but they no longer support PPro 2.0.

So now I am getting ready to plunge into HD and HDV with the new PPro 2.0 upgrade, and I am considering replacing my highly reliable yet obsolete DV Storm2 card with a faster, and newer HD-HDV card. I've read about the new generation of boards that work with PPro 2.0, and got very excited. Here are my questions, so maybe some of you fellows can point me in the right direction:


HD capture/editing card. As I mentioned, I am very excited about the AJA Xena HS card. I have also read a bit about the Blackmagic Decklink HD card. Which one do you guys recommend? Which one is better for real-time editing in HD-HDV?


HD and HDV capture: I’m fairly new to HDV (like most), and there’s something I am wondering about the capture process (please disregard my ignorance if this seems too trite). I am used to transferring my footage through Firewire. It’s a very clean and effective process. I’ve noticed that the new generation of HD capture cards do not have a Firewire input. Instead, they use BNC component inputs and an AES/EBU 15-pin D connection. Am I missing something?


In addition, I will need a new video card, and I am considering one of the new nVidia Quadro cards, so I could work with other applications (e.g.: Magic Bullet) and defer most of the rendering from the software to this hardware card. Should I check the Quadro line or should I check other alternatives that would actually work with my video applications?

Thanks in advance, and I look forward to your advice.

Boy, you know you're rolling along doin' fine about 65 and then WHAM, Premiere smashup!!! I finished my trailer, a 1-min intro and went to export it and even though it looks great on the monitor in the build, it looks horrible after export. I'm merely clicking Adobe Media Encoder and selecting a simple preset. I've tried a few of them. Can anyone tell me if there's a preferred preset to be used for streaming from a server for my website AND what happens when I try to export to 720X480 to include within another project? This is Adobe 1.5 that I'm using to finish a project I started in it and ten I'm moving over to 2.0.

Exporting a DV AVO at 720X480 is done through Export > Movie and should be fairly straightforward. Select DV AVI eliminates a lot of choices. On purpose.

Exporting for a web site is usually done at 320X240 or so, and at around 512K data rate. Higher if quality is a serious issue.

Just remember that a preset is merely a suggestion and there are many ways to adjust the settings. It is more an art than a science and really depends on the footage. Someone on sand can be compressed a lot more than someone standing at the water's edge. Water is hard to compress. So telling you the exact settings is virtually impossible.

Thanks for the information.

I'm mastering to DVD. Also-I'm still learning color correction. CF has been very helpful - however... it has not been easy to learn the craft of color correction. Thanks again!

Tim

This question is for a friend, so I'm not sure about all the details.

He is using Premiere. He has his project all edited and done and now he wants to export it to a format(s) that can be used to make a DVD with a third party DVD authoring software (ULead).

I've heard that DVDs use .mpg (mpeg2) video and .ac3 audio. But my friend says that he can't export from Premiere as .mpg (mpeg2).

How do you guys export as .mpg2 or do you not do that and there is some other way to make a DVD?

Which version of Premiere? You can export to an Mpeg2 format through the Adobe Media Encoder. Choose File/Export/Adobe Media Encoder. Unless your friend is using the demo version of PPro 2.0, which doesn't have the ability to encode to Mpeg2.

When I try to capture analog through my Pinnacle Moviebox (firewire), it shows on the capture screen in premiere.. and records for about five seconds.. then stops recording,.. popping up a prompt to save the file. Then, below that window, is a popup saying that recording ceased due to "no timecode detected.
"

There has to be a way to capture non-timecoded material through premiere.

Sound familiar to anyone?

J

I'm not real clear on why you feel the need to purchase an additional card to capture HDV? We have been using PPro 2 with the JVC HD100 Cineform and edit in RT thanks to the Cineform codec.

The cards you are talking about are BNC component to capture the video stream pre-mpeg encoded before it hits the tape, in a form uncompressed (although some will argue the term "uncompressed" as the video signal is "pre-encoded" more than anything). You do not need to go this route, even less so if you have a workflow via firewire and don't wish to change for HDV. You can (in most cases, camera dependent) still use the firware option and work the same way you did with DV. Check out the Cineform codec, very fast playback/edit and no additional high cost of a card. Also works very well for keying, it's a clean signal even with compression.

I am still trying to decide on a video card as well, so no help there.

Good luck!

The Premiere Pro 2 help center says, concerning ripple edts, "The edit point is dragged earlier in time—shortening the preceding clip and the total program duration."

It doesn't seem to do this with me. When I use the ripple edit, the clip that I use it on just gets longer which the preceding clip stays the same length and the total program duration in fact gets longer, and not shorter.

The rolling edit seems to work as described, the clip I use the edit on gets longer while the preceding clip is shortened (the amount of frames I increase the in point on the one clip is the same amount of frames that the outclip of the preceding clip is shortened by)

Am I doing anything wrong concerning not getting the described result with the ripple edit? ...I've noticed that it does work, but only when I use it on the edit-out point of a clip.


Do any of you really make use of these tools? Especially the Slide and Slip tools, whose concept I can't seem to grasp either...

Is a:

Rolling edit: Used to lengthen one clip, while shortening the clip before it to keep the program duration the same.

Ripple edit: Lengthen one clip, while leaving the clip before it the same and lengthening the program duration (contrary to the what the help center says)

Slip Edit: Changes the In and Out points of the clip without lengthening or shortening it or otherwise changing it's duration

Slide Edit: It moves the location of the center clip earlier in the sequence and shortens the preceeding clip and lengthens the proceeding clip but leaves the center clip's duration unchanged.

Are these right?

Is a:

Rolling edit: Used to lengthen one clip, while shortening the clip before it to keep the program duration the same.

Ripple edit: Lengthen one clip, while leaving the clip before it the same and lengthening the program duration (contrary to the what the help center says)

Slip Edit: Changes the In and Out points of the clip without lengthening or shortening it or otherwise changing it's duration

Slide Edit: It moves the location of the center clip earlier in the sequence and shortens the preceeding clip and lengthens the proceeding clip but leaves the center clip's duration unchanged.

Are these right?

Your understanding is correct.

It's good to see the relations between the different edit tools and how you can get the same results with 2 different tools; though it might require more than one action. Try to go for the most efficient tool for what you need to do (and learn the shortcuts! You shouldn't even need to leave the tool selection bar open)

Ripple editing implies that the editing action pulls or pushes the rest of the program depending on whether you add or remove frames from the target clip. Usually this is the tool I use the most, but as my edit gets more complete, I tend to use the other tools more.

A rolling edit just moves the edit point left or right, without changing the position of either clips, and without changing the program duration. Very useful if your duration is locked (to music for instance); also, using it on the audio only (with Alt) lets you do an L or J cut. You could get the result of a rolling edit by using the ripple tool twice: one edit on the first clip and another on the second clip, but it's a lot faster to use the right tool for the job.

Slip doesn't move the target clip or change it's duration. But it changes the content of the clip. To get the result of a slip edit with the ripple tool, you would need to perform a ripple edit on the head of the clip and another ripple edit on the same clip's tail.

I never use slide edits. Never found a use for it.

Anyone with an answer, please help me out

I am using PPro1.5, and 4:3 footage, every time i overlay a QT file with an alpha channel, my footage widens when rendered

Thanks for your suggestions.

Regarding Cineform: does it allow you to edit the HDV stream directly? I heard somewhere else you need to convert to AVI first. Please let me know if that info is wrong.

My goal is to minimize all this formatting work in post as much as possible. That's why I was looking for an editing/capture card that would allow me to work with native HD / HDV footage. I got used to working on DV with a Canopus card, and it certainly did speed up my work process, since much of the DV processing and rendering is handled by the card, not by the CPU.

Are these types of cards no longer necessary with the upcoming dual and quad-core computers? I'm still using an Intel 3.2GHz, which can be slow with certain applications.

Thanks for your suggestions.

Regarding Cineform: does it allow you to edit the HDV stream directly? I heard somewhere else you need to convert to AVI first. Please let me know if that info is wrong.

My goal is to minimize all this formatting work in post as much as possible. That's why I was looking for an editing/capture card that would allow me to work with native HD / HDV footage. I got used to working on DV with a Canopus card, and it certainly did speed up my work process, since much of the DV processing and rendering is handled by the card, not by the CPU.

Are these types of cards no longer necessary with the upcoming dual and quad-core computers? I'm still using an Intel 3.2GHz, which can be slow with certain applications.

The Cineform codec gives a .avi output intermediate file for editing. The idea behind it is to allow you to edit in near real time (in Premiere Pro 2.0 using Aspect.) HDV native editing is processor intensive. Each frame relies on interpretation from the prior. When the HDV is Captured using the Cineform intermediate codec, it creates a frame by frame file. Much larger, but much easier to process.

Does Pinnacle Hollywood FX work as a plugin for Premiere 2.0 pro? If so, how does one add it?

Well I finally got around to editing on my new computer, and I just finally borrowed a digital Hi-8 to dump all the footage I wanted to edit onto my computer. So I'm capturing and then Premiere starts to drop frames and then when I go to watch the footage in Premiere it's all choppy.

My editing computer:
P4 3.0 GhzE
Asus P4V8X-MX s478 mATX AGP Motherboard
OCZ 1GB 400MHz RAM
200 GB Sata
StarTech PCI1394-2 2 Port IEEE-1394 PCI
ATI Radeon 8500 128MB

So I think it's my computer or something, because I haven't ran into this problem before when I edited at my old school.

Also I'm pretty new to the whole world, so I don't really know the terminology.

So thanks for your help. It's really appreciated.

Later.

- Matt