thanks Pete...
what about my progressive question?

This is about to drive me nuts.

I have done the batch capture twice now and it still does not line up perfect like the original capture. The whole thing is ending up about a second off. Which with about 2hours worth of cuts ect would take me an extremely long time to go back and re-align.

Does anybody know why in the world it is not lining up perfectly?

It'll depend on your field handling options within the project and upon export. Of course, if you process using "no fields" and export to a progressive format, you'll not have any interlacing even as your still images are moved around in the video.. If you apply motion/scaling for a still within an interlaced timeline, I think you might introduce combing artifact as the odd and even fields see the moving edges within your frame at slightly different times...no problem if your final output is going to be interlaced but might be bothersome for progressive output or display.

For me personally, I make sure everything is in 23.976: DVFilm output, Premiere settings, DVD frame rate, etc.

Btw... check your playback settings as well. If you use GDI instead of Direct 3D for previewing, you won't get any of the image smoothing that the video card is capable of doing (and you'll get noticable blocks, jaggies, etc).

If you're seeing it on a broadcast monitor or DV->TV out or something, chances are it's an interlacing problem.

Need Help (sweaty actor)
 

Hi all,

I am putting together a segment and the subject was flustered while being filmed and hense was sweaty. I didnt think it would show up in the footage but unfortunately it did. I have tried de saturatting and adjusting lvls but cant seem to get rid of the glare caused by his sweaty brow. I would appreciate any suggestions. Thanks


Shaun

Show the talent full frame for the first part before he began to sweat. Then use him at 24% pip if it's a talking head documentary and overlay atop b material.

If this is a dramatic piece, you will need to re-shoot.

Help Me Please
 

I was sent a harddrive with video clips capture with final cut pro and I can't import them into Premiere Pro 1.5. Does anyone know how to get around that? Do I need a codec for that? I also have the Matrox RTX100 Xtreme Card and my OS is windows XP. Thanks

Chris

24p editing
 

When i capture and i edit in PP with my Canon XL2 do i need to change the project resolution? I know that the XL2 films in 960x480 when its in 16x9 because of its larger CCD's. So does that sound right? I tried this in a 4:3 project by changing the resolution to 960x480 and it automatically captured in widescreen wen it recognized the camera connection... so that went well. And the actual captured file, when i play it with RealOne Player on my desktop is perfect high resolution (960x480) widescreen. However, when i edit it in PP and export it(in 960x480) to Microsoft DV AVI it seems to lower the quality,the image is very pixely and the colors arent accurate.

Could this have anything to do with my attempt to make a 24p video? I recorded 24p with 2:3:3:2 pulldown and captured on a 29.97 timeline. When i exported i exported in 24 frames progressive the video lost tis quality. I think this happened in PP thought because when i edited it it didnt look like the best quality, oh well, ill mess with it more, thx for the input.

to answer the original question...
 

To answer the original question, I experienced the same exact problems when i captured my Canon xl2 24p footage into a 29.97fps project. Once I started a new 24p project in PPro and imported the clips into that, the problem went away. Can't explain why PPro behaved this way, but this "fix" worked perfectly--

right way to export 16:9 to 4:3 letterboxed?
 

In this recent post:

http://www.dvinfo.net/conf/forumdisplay.php?f=67

The user was achieving 16:9 to 4:3 letterboxing by importing 16:9 footage into a 4:3 project and then using scaling to get the letterbox effect. Something seems wrong about this. Is there a way to explicitly tell PPro to export 16:9 to 4:3 letterboxed or what's the right way to do this?

Thanks,
Aaron

1- Mac uses a different file system than PC. Is the drive formatted NTFS (which Macs can't write to without certain software) or FAT32 (2GB file limit)?

If not, you will need special software to see files on the drive. Do you see files on the drive?

2- Mac uses quicktime-based files, which may be slow in Premiere. You can convert the files to AVI, or you can try to re-capture off the source tapes. Final Cut may be able to export a project file which gives Premiere the timecodes of the clips so you can re-capture.

I think Premiere Pro can import quicktime files. I may be wrong there.

3- You're working with mini-DV right?

Chris,
you could use Automatic Duck tool to import Fcp-footage into Premiere Pro

http://premiere.digitalmedianet.com/...e.jsp?id=30775

Hey guys. I actully work with Chris.

The exact sitaution is that footage was captured from MiniDV by Final Cut Pro. The subsequent files were stored on an external HDD (FAT32), and that HDD was shipped to him.

When exploring the HDD the files have NO extensions. If we give them the extension of ".mov" or ".mpeg", APP will import the clips, but then must render them...and there are about 20 hours of clips. :(

If we rename them as as any other kind of format, Premiere will simply not import them at all.

Per, as far as I can tell Automatic Duck is for importing an entire project. We just need to iport clips without having to rerender them.

Is there a reason the files have no extensions?

Whoops! That ^ was actually me! (This PC was still signed in under his account)