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

premiere 1.5.1 scopes
 

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

24p and 60i footage in same Project
 

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

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 and this article. 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, on all software waveform scopes I've seen so far, IRE or no IRE, a 0-100 scale is still used.

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)."

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


16-235 Gradient on a Premiere Pro 1.5.1 waveform scope

Christopher,

Nice test. I'm a long-time (long, long-time) Premiere user. It just bugs me that you have to reverse engineer the scopes to figure out what's going on. And I've seen video with illegal blacks and super whites go below 0 and above 100. Would be nice if they took that Setup checkbox out. Not sure what purpose it serves.

Anyway, we got way off the original topic. Whoops.

Josh

The option to display black on the waveform with or without 7.5 IRE setup was a user requested feature after Premiere Pro 1 was released. I believe Premiere Pro 1's waveform may have displayed the video with blacks at 7.5 IRE (perhaps an effort to keep those editors who were used to the analog world from messing up their DV video? Should the waveform have displayed black at 0 IRE, I can imagine an analog editor seeing his blacks at 0 IRE and raising them all to 7.5). But there was griping on the Adobe Premiere Pro User to User forum about the default, and so the switch was added in Premiere Pro 1.5.

In any case, the option only changes how blacks are displayed on the waveform. It doesn't change the video signal itself in any way. Personally, I'd rather have the option than not have it. The more customization options, the better.

audio hardware controller
 

I'm looking at purchasing an audio hardware controller that will allow me to adjust volume/pan/eq manually:

http://www.behringer.com/BCF2000/index.cfm?lang=ENG

I'm confident it will work with Audition, but can anyone tell me if it will work in Premiere 1.5.1?

Failing that, is there a way to open up the audio tracks from Premiere in Audition in multi-track view, not as an exported audio from video file.

Thanks,

James

Export Movie option suddenly crashes Premiere 6.5, why?
 

Issue Resolved!
 

Windows Patch for MPEG Encoder
 

While looking for the fix to my problem with the export movie settings, I also found that there is a patch from Windows that should fix the MPEG option issue XP SP2 users. If these links don't resolve in the future, just perform a search with the update code below at the last address.

Update: KB886716

http://www.microsoft.com/downloads/r...DisplayLang=en

http://www.microsoft.com/downloads/d...DisplayLang=en

www.microsoft.com/downloads

Thanks for the replies.
I indeed knew that I could select them together with ALT or CTRL, but as Pat Sherman said, it seems there is no way in PPro to do it over the complete timeline BEFORE you edit your clips.

It's one of the reasons why I'll be switching over to Avid soon.
Still thanks for the replies!

thnx for the help

I would transfer 60i to 24p using magic bullet or some other 3rd party plug-in. For me i fell akward mixing 24p footage ino a 30fps timline; even though you can, i just dont like the repeated frames it gives you when you dont remove the pulldown from the 24p.

PPro 1.5.1 and the Panasonic HVX 200
 

Does anybody know, for certain, if PPro 1.5.1 will play nice with the new Panasonic HVX 200 and the DVC Pro HD codec? Will I need additional capture hardware?

found the problem- it's from checking my canopus "microsoft compatible" in the capture settings. maybe this explains why the footage is clean during capture, but has glitches when playing back the file. no problem when capturing using my built-in firewire. no wonder another production house had no trouble with my footage. i still can't explain why all's ok when using the xl2 for capturing.

my new question is- it seems that premiere stores the clip's codec because when i recapture using batch capture (which was microsoft dv) the new canopus dv file won't link. would there be a workaround short of making new offline clips?

thanks.

PPro Compatibility with Panasonic, Canon, etc.
 

I have been a user of Premiere 6.5 and am seriously thinking about upgrading to PPro 1.5. In addition, my older Sony TRV340 has died and I need to replace it. I am looking at 3-4 camcorders from Panasonic, Canon, JVC and Sony - none of which are on the "supported hardware" list for Adobe 6.5 or PPro 1.5. So, can anyone tell me for certain if the following camcorders work with Pro 1.5: Panasonic PV-GS400; Canon GL-2; JVC GR-X5US and Sony DCR-H1000.

I know there's bound to be a bunch of pros/cons about each of the camcorders and I'll look at that but right now my primary concern is will they work with Premiere. Otherwise, I'm thinking it may be time to look at other software - if so, would Vegas work with any of these devices?

Thanks for any help.

Carl

PPro certainly works with the GL2. It is actually in the list of supported camcorders. I doubt any of these other cameras would have problems with PPro. Even if not specifically in the list, it would probably work with the generic DV camcorder setting, but it's better to be sure I guess.

Carl,

I too was looking at upgrading from 6.5 to pro. I downloaded the trial and used it for a couple of weeks. It seemed quite different to me than 6.5 and I just couldn't get comfortable with it. Learning new NLE software is not easy for me. Of course others will say that pro is a vast improvement and IMO it does have some neat features. I guess it really comes down to what type editing you do. For me, I would gain just a little additional capability.

I decided to stay with 6.5 because I mostly use disolves, cuts, some titles and that's basically it. No fancy stuff. Of course if you are moving up to HD, HDV or DVCPRO50 then that's another issue and staying in the upgrade path might also an important consideration.

Regards,

Mark

codec
 

which dvcpro hd codecs are you using?

PPro 1.5.1 I'm sure is only written with cineform codecs for HDV, therefore providing acceleration only for those formats. It's worth a shot though, I know HD's been dumped into premiere.

Might wanna have a looksee at prospectHD by cineform.

love peace and chicken grease

Pro 1.51 Should be just fine
 

I am a former 6.5 user. I stepped up to PP 1.51 because of addition of HD. I have to believe that anything 6.5 supported would be supported by PP. It works with my FX1, in the DV mode, or HD mode, my VX2k as well as older cameras. I have the Panosonic GS 120, and it uploads fine. Most of my DV material actually goes through an cheap Sharp WD250u I bought refurbished and use as a deck to upload DV material. I ve never had problems 1.51 in using any of those to up load DV to edit.

I think Premiere users can adapt more easily to PP 1.51, than say learning Vegas. I am trying that, but keep going back to PP if I am in a hurry.

Chris Barcellos

HDV plugin: native HDV editing?
 

Does Premiere Pro's HDV plugin offer native HDV editing or does it use a digital intermediate?

I will look into that, comrade! Thank you. I know it takes HDV but I think we're all trying to get away from that because of the long GOP and frame by frame editing issues. DVC PRO HD seems to be the way to go.

Thanks...
 

Thanks for the help. I feel reasonably confident that whichever camera I end up deciding on it will work with Premier (either 6.5 or Pro 1.5). Now, the hard part - choosing the camcorder. I've at least pretty much narrowed it down to either the Canon GL2 or Panasonic GS400.

Carl

Carl,

I have owned the GL2 and use the Pany GS400 at work. Both are really good cams. However, my personal cam now is the Pany DVC30. There is a lot of imformation on all three cams on this forum as well as at camcorderinfo.com. I really don't think you could go wrong with any of them. It might just come down to which one feels right in your hands.

Regards,

Mark

Gl2 & Gs400....
 

No, I don't want to start a "war" of which one is better. What is going to be difficult for me is of the camcorders I was initially interested in NONE of them are available where I live. This is really irritating with the GL2 and GS400 (my two top choices). I'm hoping I can work out something with a mail order/internet supplier to grant me a right to exchange my 1st pick (whichever that is) for my 2nd choice without incurring a re-stocking fee. At least it's comforting to know either should work with my Adobe Premiere which I have grown reasonably comfortable with.

Thanks again for the help.

Carl

Premiere should be abble to work with footage shot wiith any mini-DV camcorder, BUT, there are a few known issues with capturing for example. For one, Canon XL-1 users like me used to have their audio go out of sync with the video when capturing with Pemiere 6.5, (not sure about Pro). In any case I used Scenalyzer Live when I had this problem two yeras ago to capture mini-DV footage, and also to make capturing two seperate audio channels simultaneously possible which Premiere Pro 1.5 still cannot do. At this point I would never capture without Scenalyzer Live for myriad reasons.

Interesting...I hadn't run into that when capturing from my now defunct Sony TRV340. Guess time will tell with my new camcorder. Thanks for the tip - I will definitely keep it in mind.

Carl

avid
 

Avid also works with dvcproHD on the pc platform, as well as I believe Canopus. Good luck, let us know if you find anything out.

it uses the cineform intermediate codec. But it does not allow as good acceleration as Aspect HD. But it does work.

Audio hardware controllers use MIDI to control the audio program. AFAIK *only* Vegas allows MIDI control.

However, recently I found a free program that can convert incoming MIDI signals into keystrokes (incl. Ctrl, alt, etc.). AFAIK it's for windows only. I downloaded it the other day, but have not yet installed it, though I should since I have a Roland SI-24 control surface, and using it's transport controls for controlling Premiere, etc. would definitely com in handy.

Well, actually it is nag-ware. IOW it's free, but there is a registration reminder upon startup, very much like WinZip. If you like it and want to get rid of the nag screen, then it's 29 Euros to register.

Here is the link (take a look at the examples page and you'll notice that controlling Premiere is in the examples)

http://www.bome.com/midi/translator/

I'd love to know how it works out for you as I have not yet installed it and tried it out...

Alex F

Capture File Size Control?
 

Is there a way to set up Premiere Pro such that when I capture video it automatically breaks down the file into smaller segments? For example, when I capture an hour long DV video with Avid Xpress Pro it will automatically break that capture down into ~6 2Gig files. Within Avid it all looks like one large file. The reason for this is the file size limit for archiving, and DVD size.

If I want to backup my captures with Avid to DVD, I can burn the clips to about 3 DVDs with each one having 2 of the 2Gig files. I don't have to burn the DVD to UDF format, since the file size is just under the limit (if files are just over I think 2.1 or 2.2 gigs, you cannot burn them to a *data* DVD for archiving unless you format the disk w/ the UDF file system).

As it is right now, I have a 12+Gig video capture file. I think that currently the only way that I can burn it to DVD for backup purposes is to rar up the file into multiple rar files, each with segment sizes 2Gig or less.

I'd like to avoid that from the get-go if possible.

Thanks,

Alex F

If you turn on scene detection in Premiere Pro during capture, a new video clip will be created for each scene. Other than that, there is no way to split clips in Premiere Pro.

If you have Premiere Pro 1.5, there is the Project Trimmer that can reduce a project's size to just the portions of the clips that were used. It can also create an off lined project file, which you could use to recapture the footage from the original tapes should you ever need to access the project again.

OK. I guess I will have to rar up the files in order to archive them to disk. I will also make an offlined project file as well and save that too.

Thanks.

Alex F