Hi Ong,

Point 1 - i'm not to sure. But as with all adobe products there are hidden menus represented by a triangle pointing to the right (normally found in the top left had corner of a dialog box). The option might be there. Otherwise right click on the monitor window (in a bit of 'space') does another menu appear?

Point 2: This is normally done by applying colour filters in Premiere, normally found under the video effect/ filters tab. Although you could create a colour 'filter' in photoshop, it is much easier to use the plug-in you get with premiere. You basically drag the filter to your clip on the timeline and adjust settings where needed.

Hope this helps,

Ed

I have been trying to create a slide show, with about 400 high res images from our Nikon D100 camera, with Premiere Pro so I can create a DVD to send to friends and family. Hah, I thought, now they don't even have to come to my house to see my "What I did on summer vacation photos". I admit I am very new to NLE and Pro. I have a Dell 8250, P4 2.6, 512MB RAM, separate 180GB video only HD and use the Matrox RTX10 Xtra card.

When I first imported the images they looked fine in the source monitor but were, of course, very large in the program monitor so I only saw a portion of the picture. I used a photo editing program to save them all at 640x480 res, which allowed me to see the entire photo, but caused an understandable image degradation.

I then tried importing the original hi-res files and using the Motion control to just scale down the image, still the image is degraded. I have tried playing with the interpret footage settings as well as the field options for the clips. It seems that no matter what I do, or even if I don't do anything, the minute I drop the still into the timeline there is noticable degradation of the image quality. Understand, the photos still look OK, even on a 32" TV, but they aren't extraordinary.

Does anyone have any suggestions or is this just normal. Will any slide show creation program give me the same degradation in IQ?

Hi Jacki,

Check out this guy's explanation... it may help

http://www.dvdrhelp.com/forum/viewtopic.php?t=192278&highlight=slideshow

Cheers,
Jack

Jacki,

What DVD autoring program are you using?

Most DVD authoring programs will allow you to create a slide show from a still image (.JPG, .BMP etc).

The resolution in a stills camera is different to that of a TV. A stills camera size is rated in pixels where as a TV picture is rated in lines - which is much lower picture quality than your D100.

You will need to re-size your images so that they are video standard width and height. i.e. for NTSC 720x480.

So basically if your Authoring program will allow it; skip the Premiere bit, resize images to correct aspect ratio, and import them directly into the autoring program.

Cheers,

ED

I'm in the middle of a project right now, and I've sent the video out to tape a few times to see how its doing.

I've noticed that where I've imported footage from After Effects, the video tends to get almost unnoticably choppy when viewed on the computer, rendered. On tape to a monitor, the choppiness is more prevalent, though not too bad.

What I did was export my footage to edit in AE as uncompressed AVI, then export from AE as uncompressed AVI, then import into Premiere. (I'm assuming choosing "none" as my codec means that its uncompressed.) Am I doing this the wrong way? Any way to fix this, or is this just a quirk of Premiere Pro?


Also, when i reverse a segment of the video for a second or two, i'm experienceing some choppiness as well. I thought it had somethign to do with an interlace field setting that I had to change but in an uncompressed avi export, there doesn't seem to be any problems. Any ideas here?

Thanks.

Uncompressed video has an enormous bandwidth - over 30 MB/s. Even the best hard drives have trouble sustaining that sometimes. I doubt anything is wrong. Just render it back to DV and you'll have no choppiness, I suspect.

Peter: From AE, or Premiere? Should I render as DV separately, and then insert into the timeline I'm using for my project?

I would keep the uncompressed part from Premiere into AE, that
garantuees that whatever you are doing in Premiere won't
degrade the image too much due to a second compression level.
If it is only straight cuts you can just use DV output as well since
it should not re-encode the footage then.

If your output from AE is going straight to DV tape then you can
just as well export in DV straight away. Whether you do it in AE
or lateron in Premiere should make no difference.

If you are going to another output (DVD mainly) then it might be
wise to stick to uncompressed.

hi all,

Anyone has a efficient way of adding subtitles in Premiere Pro?

I read some manuals but those ways seems very troublesome and not efficient to me.


Thanks!!

Wan Shu

go to file> new> title

type what u need save it and it should be with the video files
then just treat it as a video and but it where you need on the timeline

For some background information. . . .I film and edit rollerblading videos. I like to slow down footage, but I've always cut the audio out because it was way too low of a pitch, and seemed way out of place. I am trying to figure out a way to increase the pitch of the audio, so that it SOUNDS like there has been no adjustments in speed of the audio.

The speed adjustment is noticeable in the video. . . .but, I want the audio to sound more like all the other 100% speed audios.

For some of you that don't know what kind of "pitch" I'm talking about. . . . pitch would be the difference between the low, deep voice of a man. . .compared to the high, sometimes screechy voice of a woman.

I'm not to sure on a dedicated pitch filter, but I suggest playing around with all the others to see whether you can get the same effect.

Ed

Hi everyone,

I searched the forum about this topic and found one post with no reply in PPRO forum. I just wonder if there's a way to do this. I want to add the same transition on all of my cuts on the timeline. Is there a way to do that instead of adding transition one by one? Thanks.

I've gotten spoiled by the "levels" control in Photoshop that let me easily adjust gamma. Is there any kind of plug-in for Premiere that will let me do this for clips (and, hopefully, won't take 5 days to render 10 seconds?).

Thanks.

What version of premiere are you using?

If you are exporting out as a movie avi/ mov/ mpg etc then in settings under special processing you can adjust the gamma. If you then want to export to your tape you will need to import the avi file and export to dv as normal.

Cheers,

Paul,

If you have After Effects, or know some one that does you will find just what you are looking for.

Premiere Pro has curves, which will let you adjust gamma.

You can also export an image sequence for Photoshop to batch process with actions or batch actions.

What version of premiere are you using?I'm using Premiere 6.5.
Premiere Pro has curves, which will let you adjust gamma.I'm holding off upgrading to Pro until I get a new computer (mine is only 1.4Ghz) and can also afford to replace my real-time card (a Pinnacle ProOne, now orphaned and abandoned by Pinnacle).
If you are exporting out as a movie avi/ mov/ mpg etc then in settings under special processing you can adjust the gamma. If you then want to export to your tape you will need to import the avi file and export to dv as normal.

Adjusting gamma on export won't do it, since I need to set levels for each clip.

If you have After Effects, or know some one that does you will find just what you are looking for.

I do have a copy of AfterEffects 5.5. Is there anyway to use it within Premiere? It would be kind of a pain to have work on each clip individually, export it, then bring it back into Premiere.

Paul, you can import your Premiere project file into AE and work on it that way but you can't work with AE from inside Premiere.

It's not really a good idea to limit yourself to one app as this basically limits you to what you can do, nothing can do it all. Man, I often use Premiere, AE, Photoshop and even Vegas to get the job done. It is a pain in the butt but that's just the way things go unless you have big-dollar gear.

Paul, Premiere 6.5 has a built-in gamma adjustment filter. It is unnder Video->Adjust. That being said, the tools in Premiere are somewhat limited. The gamma adjustment is kind of a brut-force type thing. If you want fine control over the image, you will need something like AfterEffects. There are other tools out there that will accomplish what you want, but I'm only familiar with AE and Premiere. One you edit your project with Premiere, save it and then import it into AE. You can adjust color or add effects to your heart's content, then save the project and bring it back into Premiere. This is the work-flow I use. Once in Premiere, you can output the file to whatever codec, or make other fine adjustments. From what I've heard, Vegas Video and Avid DV allow you to color correct the video from within the app. Also, there are plug-ins for Premiere you can buy that will do what you want. Hope this helps

ok, i have a generic dv capture card that came with my hp. will i have a noticeable difference in picture quality if i purchased a name brand capture card from a place like best buy, sears, circuit city? does each program ( premiere, vegas, fcp, msp ) add any processing to the footage when capturing?

Hi,

I shoot all my footage in 16:9 aspect ratio using a Sony PDX10. Afterwards I import this footage in a widescreen premiere project. The frame aspect ratio is always set to 720x480. Therefore when I export my footage to avi everything seems stretched horizontally.

Now, at the end of the day I want to put my footage on DVD and have it played on a TV in 16:9 aspect ratio. I have never done this before.

My question is when I burn my footage on DVD will it still appear horizontally stretched? or will the DVD burning software some how encode it on the DVD that it is 16:9 and thus when the DVD player plays it, it will stretch the video appropriately.

I'm still new to this domain, so I hope I made some sense.

Thanks

What DVD burning program are you using?

There is no loss in quality with differnt non-branded generic capture cards. You can get hardware accerelated capture cards that have an on board codec which will give better quality - i.e. the Matrox LE capture board.

Quality is determined by 2 things:

1) Your camera, i.e. your orginal footage you captured while recording.

2) The codec used when capturing into your computer.

There is not much difference between the generic codecs used in the programs you have mentioned.

Hope this helps a little.

Ed

If you have a firewire card that "captures" DV then it will make
no difference AT ALL which card you are using (quality wise that
is!). Even if the cards ships with the ultra-deluxe-very-best-codec
then it will not improve your quality WHILE capturing. Why?
Because a DV capture is just a simple "file" transfer over your
firewire link. The camera has already compressed the footage
into DV with its own internal codec. So the card in your PC does
nothing other then to transfer the footage.

Now if you are capturing from an analog source the story gets
different. You can use an external device (sometimes your
camera) like the Canopus ADVC which has a builtin codec to
convert the footage realtime to DV which you can then just
capture in the same manner (and thus the same points as above
apply. Quality is determined in the ADVC in this example).

If you are using an analog capture board (with composite / SVHS
in for example) then it's a different animal. Most boards will use
an MJPEG codec which you will get on CD with the board. The
quality is highly dependend on this codec since the boards
basically operate in raw YUV. So you could capture to another
codec as well if you want (and have the processing speed). Most
analog capture utilities don't support realtime encoding to DV
with these boards I think (at least not a year ago or so).

So only in this last example will the codec you choose have any
influence on the quality of the capture (along with the quality of
the components on the capture board etc. ofcourse).

i would like to thank the both of you. i have purchased a used xl1 with 98 dated on it. i'm now wondering if there is any updates to the built in compressor.

Not to my knowledge. But it might be a good thing to send the
camera in to Canon to have it checked, cleaned and worked on
where needed (cost depends on whether stuff needs replacing
etc.).

First of all the resolution will ALWAYS stay 720x480 underwater.
From the camera, through Premiere, through MPEG encoding
and what finally ends up on the DVD. The trick is in marking the
footage AS widescreen so your TV and/or DVD player know it
needs to be unsquashed.

So how do you do this? First you need to tell your MPEG2 encoder
that it is encoding widescreen 16:9 anamorphic material. If you
are using an authoring package that has builtin encoder then it
will probably do this for you if you follow my next paragraph.

You also need to tell your Authoring package that a particular
file is in widescreen 16:9 anamorphic so it can create the proper
flags for the DVD player lateron.

However, not a whole lot of DVD authoring applications actually
support this option!! Especially not the cheaper / simpler ones
you get a lot with the burners or bought yourself. Usually the
mid to highend market has option like that.

So the question from Jonathan is a very good one. Which
package are you using? If it doesn't support it you'll need to
look at other packages like Sony's DVD Architect.

I couldn't find whether Adobe Encore supports this, so it looks
like it doesn't.

Encore does support true 16:9, as does the no-frills "Export to DVD" function of Premiere Pro. Adobe Video Collection has been well worth the big chunk of change and the learning curve for me. Seems others have been equally happy with Vegas+DVD. Either way, you'll drop some bucks but have amazing capabilities...for me, the limits are my dull scientist's imagination, not my software!

Rob is quite right about the "Lite"/cheap/bundled versions of authoring software. Especially in retrospect, the "Lite" versions of myDVD and DVDit! that were bundled with my Sony burner and previous versions of Premiere were buggy toys/junk by comparison.

I haven't brought too much material to completion yet since getting Encore, but so far it has worked great for me without any of the bug problems that some folks have reported (for once, I'm just lucky on that score!) Encore does NTSC or PAL, 4:3 or 16:9, motion menus, subtitles, chapter points, data/photo files for computer use, etc. And for DLT output (for producing real pressed DVDs), it'll do copy protection and regional encoding.

hi,

Thanks for all the information. It greatly helps. I haven't baught any burning software yet. I have been browsing around the internet trying to find one that supports 16:9. So far from what you guys have said, Encore seems to do a good job. Are there any other burning software that you guys recommend. How about Nero?

thanks for all your help. Much appreciated.

I was under the understanding that copy protection (which uses
CSS encryption) must be licensed for each DVD. So how is Encore
handling this? The only other package I know of that can handle
that is Scenarist I think (and perhaps Maestro, the old DVDSP
for the Mac). Because you need to get your special CSS encryption
key from some company / forum.

Here's somewhat of a related question. I, too, have a PDX10 and shoot 16:9 aspect ratio. However, I have some older footage that I am considering using for a project that is 4:3. Other than letterboxing the 4:3 footage, if I were to include both 16:9 and 4:3 and encode it to DVD, is there a way to have each recognized and scaled appropriately on playback? I know I've seen some television programs that at least seem to incorporate both 16:9 and 4:3 footage intermittently.

What would you suggest for "mixing" the two aspects?

Michael

Rob, re: CSS

I'm just a hobbyist, so don't use CSS. But I do recall that the manual says that you can only do copy protection (CSS, Macrovision, and one other) when output is to DLT. I'm guessing that is by design so that the licensing can be handled through the company that presses the commercial-type discs.

I believe that Regional Encoding is also only available when outputting to DLT from Encore.

Amir:

Seems that "decent" DVD authoring software is not cheap. Just from what I see here on the board, seems like Encore and DVD Architect strike the best balance of price/performance (when bundled with their video editing cousins, eg Premiere, Vegas). But there are a number of authoring packages out there and I'm not familiar with them. I'm sure others will share their opinions on their favorite or most reviled software!

Michael:

Others may have more elegant ideas, but I think that "pan and scan" or straight letterboxing either to or from widescreen will allow you to combine footage without squeeze or stretch. Probably simplest (but not necessarily best) to letterbox the 16:9 into 4:3, then it can be viewed on older TVs, and zoomed up in newer widescreen HD monitors.

FWIW, I watch a lot of Nat Geo, Discovery, etc and it always annoys me when they do the "simplest" approach I mentioned above because I'll zoom in my widescreen so the 16:9 footage properly fills my screen, and then I'll realize the program has moved on to some 4:3 footage that's being severely overscanned at the zoom setting...but I guess that's a "downside" of having a widescreen HDTV. A regular TV viewer wouldn't have that trouble.

Yeah, that's what I was thinking as well, Pete. Seems to be
for professional use only eh.

Michael: normally the aspect ratio is not decided for the WHOLE
DVD but for each individual movie on the disc. So yes, you
should be able to have mixed footage, but not in one movie.

With MPEG2 encoding each file you should indicate that it is
either 16:9 or 4:3. In the authoring application you then should
be able to indicate for each title also if it is 4:3 or 16:9. Whether
or not your application supports this is the question. The DVD
format certainly does (most movies on a disc are in 16:9 and
most extra's in regular 4:3 for example).

I capture all of my footage at 29.97 FPS in Premiere Pro. When I edit the normal mode footage in a 29.97 FPS project everything is fine, very smooth playback, no problems at all.

When I edit frame mode footage in a 29.97 project the video is extremely choppy. When I edit the frame mode footage in a 30 FPS project the playback is a little smoother than 29.97, but it's still choppy enough to notice.

I'm not sure if I'm capturing my footage wrong, my project settings are wrong, or the video rendering codec I'm using is wrong. (When I edit the footage at normal 29.97 it uses the DV NSTC video rendering codec and when I edit at 30 FPS I don't use any kind of rendering codec, it's just set to "None.")

This is very frusturating and I can't seem to fix the frame mode editing problem.

Any solutions?

Thanks a lot guys/girls!

Ryan Krga

For me at least, it looked choppy as hell when I was importing clips, but when I viewed them on the timeline and after export it looked fine...

It is probably choosing none with 30 FPS because the DV
standard doesn't know that framerate. Stick with 29.97.
Something else must be wrong. I'm guessing you have the
project set to interlaced mode instead of none (progressive).
Either that or some other settings is wrong. Can you post
your exact project settings for a 29.97 project please?

how do you add 5.1 doby digital to your premier pro project? I heard somethig you have to register with doby digital before you use it or something.

I haven't produced anything using Dolby Digital myself yet, so you and I both will need to read a couple of paragraphs of "how-to" in the manual or help. But it basically involves producing your 5.1 in the timeline and choosing same in the export settings (dialog boxes probably vary a bit depending on file format and codec you choose).

I'm no lawyer (the opposite, actually...an MD!), but I think the following is true (lawyer types, jump in here if I veer off course). Obviously, if you produce something just for yourself, nobody is the wiser. But if you intend to distribute anything containing Dolby Digital to anybody, you do need to go through Dolby. Just recently, there was a discussion about this, so you can definitely find the internet link in a search of DVInfo.net. I believe it won't cost any additional money, but there is an online form to submit and Dolby actually has the right to review/approve -- or not -- use of their technology in your product.

Importantly, don't forget that Premiere Pro includes only 3 tries at exporting Dolby Digital. After that you have to pay a couple hundred dollars to purchase the 3rd party portion of the program that does the Dolby Digital.

I took a look at the Dolby website for you all to summerize it
here, this is what I found:

Dolby Licensing site (http://www.dolby.com/lic/)

If you wish to use Dolby trademarks to indicate that your recorded audio content (such as games or DVD discs) is encoded with Dolby technologies, or you would like to use Dolby trailers (http://www.dolby.com/lic/ecm/trailers.html) at the beginning of broadcasts, games, and video programs, you will need to apply for a Trademark and Standardization Agreement (http://www.dolby.com/lic/ecm/tsa.html).The main points of the TSA are as follows:

1) An authorization to use the Dolby trademarks on prerecorded media produced with Dolby technologies.

2) Specifications for the correct use of the Dolby Trademarks and for acknowledging the ownership of the marks.

3) Quality control arrangements, which involve the licensee providing occasional samples for quality appraisal.This would "suggest" that you can use it wherever you want
without an license as long as you are not mentioning Dolby,
Dolby Digital, their logo('s) and use any of their trailers. At least
I couldn't find anything to the contrary in my quick scan of the
license stuff. Ofcourse you want to be sure on this and contact
Dolby directly. Nor I or DVInfo.net can be hold responsible for
any of the information in this post.

You need to be able to supply samples as well it seems:

An authorization to use the Dolby trademarks on prerecorded media produced with Dolby technologies.
Specifications for the correct use of the Dolby Trademarks and for acknowledging the ownership of the marks.
Quality control arrangements, which involve the licensee providing occasional samples for quality appraisal.Futhermore it looks like you need to use an approved encoder
if you want to use the logo and such:

Companies wishing to use Dolby trademarks must ensure that their recorded audio content has been encoded using a Dolby approved encoding process. Please check the following listsDolby Digital Professional Encoder Manufacturers (http://www.dolby.com/digital/lcddpem.html)

The engine Sonic Foundry/Sony is using with Vegas is on the
list, but I didn't saw and Adobe their. So either they aren't on
the list or they are using someone else's encoder (I don't have
Premiere Pro, so I don't know what they are using).

I just got the adobe video collection and with it came a training DVD. I was watching the part about adobe audition, and it was showing how you can do 5.1 with it. It never mentioned anything about it being dolby, even though it was 5.1. (dolby isn't the only company out there ever to invent surround sound, they are just the industy leader)

During the premiere section of the video, the host mentioned the 5.1 capabilities, but again never said anything about dolby.

The only time dolby was mentioned was in the Encore DVD section, and he stated that encore would convert all 5.1 information into dolby.

I think what this means is that in premiere and audition, any work in 5.1 is done by the adobe software, and it is not dolby 5.1 at this point. rather that only when you encode the dvd, does it get encoded into dolby.

It is custom if you are talking about 5.1 you are talking about
Dolby Digital, or as it is called technically AC3 (yes I know it
doesn't have to be 5.1). If PPro has an AC3 output option then
it is using Dolby Digital encoding.

I'm thinking of upgrading from 6.5 but realize that one of the things I will lose is realtime video with my Pinnacle ProOne card (the card isn't supported and doesn't work in Pro). Does Pro do realtime preview via 1394 out? If so, I could use my old miniDV camcorder to do digital-to-analog conversion, and I'd still have realtime analog preview.

Will this work?

The "problem" with such boards is that they require their own
drivers and codecs to work. So there is a real chance it won't
work with Premiere Pro indeed. The best way to test it out would
be to just download the demo version of Premiere Pro here (http://www.adobe.com/products/tryadobe/main.jsp#product=98).

It's a whopping 107 MB though and you need to register with
Adobe (free). But it does give you the best option I think. Even
if it works for somebody else everything system is unique and
it might not work for you. Better find that out with the demo then
when you bought the product!

<<<-- Originally posted by Paul Tauger : I'm thinking of upgrading from 6.5 but realize that one of the things I will lose is realtime video with my Pinnacle ProOne card (the card isn't supported and doesn't work in Pro). Does Pro do realtime preview via 1394 out? If so, I could use my old miniDV camcorder to do digital-to-analog conversion, and I'd still have realtime analog preview.

Will this work? -->>>

Hi Paul,

I use my Canon XM2/GL2 that way right now with Premiere Pro - works like a charm!

// Lazze

I have been working with Premiere Pro on and off for a couple of weeks now and I have to say that until today I have been quite impressed.

The improvements over 6.5, to me, are very nice. Previously if I rendered a clip, then moved it along the timeline, it needed to be rendered again. It always seemed silly that the designers would permit this but it never worked for me. Now its rendered once and I can move it. If I use slow motion and render then later cut the clip. It doesn't need to be reworked. I love that feature.

Also the idea of nesting sequences is great. Its like virtual clips but better.

And the Ken Burn's effect can now be done in Pro. Vegas does this nicely and I was considering learning it just for effects similar to that since previously one would have to go to After Effects to smoothly pan and zoom on a still. Pro works well in that regard.

And it seemed to be quick with non of the hesitation you mentioned....until yesterday. Then I saw it struggle at times. I would hit the space bar and wait. After awhile I opened Take Manager and clicked on the performance tag. I noticed that though I had nothing else running, there were times that I would use up all but 3 meg of my 512 meg, and this seemed to happen at random times.

I remember using a memory manager that helped a lot with Windows 98 when that happened and it seems like I am just short of memory at time. Possibly Pro is a memory hog. I will have to upgrade to a gig of memory and see if that makes a difference.

I think Ppro performance depends a lot on your system. If you dont have a "supercomputer" then it seems to run slow.

When I first received my copy I had to uninstall my matrox rtx100 card to install PPro. just out of curiosity, i did some editing on my comp without the matrox card installed. this is a 2.5 GHZ pc built specifically for video editing, with nothing else on it. premiere was without a doubt sluggish in places. when i installed the rtx100, WOW, what a difference. There is no delay, no matter what i throw at it.

just thought i would share, and i wouldnt recommend Ppro unless you have a suped up comp. also lets not forget being able to interchange any adobe software imaginable with it. that is a BIG bonus for Ppro (photoshop and AE come to mind)

I wouldn't get excited about editing with PPro without the RTX/100. Like Jonathan said, you would need a super computer. Hey, new software in the realm of digitial video editing is going to need all the help it can get. Enter Matrox.

Well here's something I can not figure out about Pro. I have been working on a project each night for a couple weeks. I was amazed at the way the program responded. The jog shuttle is faster, the scrubbing is incredibly fast. I could go on. Problems I had with Premiere 6.5 were gone but as I continued with the project I started noticing that everything was slowing down.

That is when I started to monitor the memory and I watched it change radically though there seemed to be nothing to correlate with it. I never did think to check the amount of available resources but at time I have to start playing from the timeline a few times in order to get the video to play without jerkiness. I swear as I added sequences the overall speed dropped.

The problem I now have is that when I export to an .avi file the audio is distorted when the music track begins to play...not the pops and hisses that others have complained about but rather as if I had the gain turned up too high. I have read the recent posts on Adobe's User to User forums and am convinced Adobe will have to fix this problem. User posting lengthy workarounds will not cut it for me.

So I will, after I finish the current project in Pro, begin to delve more deeply into Vegas and see how it turns out.

and thanks for the advice on the Matrox card. I am a bit gunshy about using cards after SEVERAL bad experiences with Pinnacle and Pinnacle support. I am stuck with a DV500 card and don't have the money to trade up to Matrox. I just wonder about their support.

The user forums on the Matrox support are apparently assigned to different tech staff. I have found them both responsive, honest, and sensitive to users. No doubt, there are those who need their problems solved yesterday, and fuss about it. But generally, I'm impressed with the way they handle both the people and the problems... and in the community setting, other users are helping to troubleshoot or add important info to Matrox support along the way.

Not sure if you need to register to gain access (don't think so), but here is the link to the support forums in case you want to see for yourself. It's also a good "heads up" to see what common issues people are having so you can make informed decisions:

http://forum.matrox.com/cgi-bin/rtx100/ultimatebb.cgi

Kent