Hello,

I am editing in premiere pro and then want to export to dvd. I used ppro's Adobe media encoder to get my .m2v and .wav files that I then use in Encore. Is it the right way to go? That's what I try to do now, but while it imports .m2v ok it gives an error message trying to import .wav. Does anybody have the same problem? What do I do to fix it?

Thanks

Prospect HD outputs 10bit to HD-SDI buffers, so no it doesn't convert back to 8bit unless the output is 8 bit such as exporting to WMV-HD or MPEG2. 10 bit precision is maintained wherever it is supported.

David,
So if an Adobe or other 8 bit filter gets in the chain, it all gets chopped to 8bits, right ? ( like a reposition of a slight zoom )

Does the Vegas product act in a similar way, with the higher bit depth?

I'm looking for a low cost digital intermediate color timer/editor, and maybe this is the route to take.
Is there a way to get image frame sequences into Aspect/Prospect? My frames are from film.

Thanks
-Les

Les,

<<<-- Originally posted by Les Dit :
So if an Adobe or other 8 bit filter gets in the chain, it all gets chopped to 8bits, right ? ( like a reposition of a slight zoom ) -->>>

Yes, all of Premiere's filters are 8 bit and most of them are RGB only, so those segments will have their precision reduced. However a slight zoom like you describe can use CineForm filter to presevere the bit depth. We are adding filters to replace all the common Premiere operations.

<<<-- Does the Vegas product act in a similar way, with the higher bit depth? -->>>

Vegas is 8 bit RGB only, and this can't be enhanced unless Sony does some new engineering.

<<<-- I'm looking for a low cost digital intermediate color timer/editor, and maybe this is the route to take.
Is there a way to get image frame sequences into Aspect/Prospect? My frames are from film. -->>>

Yes, although this is limited at the moment to RAW v210 AVI files (or anything that comes across single link HD-SDI.) It would be possible to convert your files into 10bit YUV v210 then these can be imported into Prospect HD. We will add a wider range of import source formats in the future.

The same codecs are available in either program if they are installed on the same machine, so they should give the same results. I find it easiest to bring the avi files, menus, music, etc. into into Encore and let it do the encoding. I have not had problems doing it this way.

Not that I am cheap , but, is there any web source were I can get free Premiere 65. plug ins.. I spent all my money on Premiere 6.5 and I am broke....

Thanks Lloyd! I'll try it.

Anyone knows if it makes a difference if you convert DV material to DVD in encore or ppro?

Any recommendations on my current situation? Still have no idea how to get my wav into encore now :(

both encore and ppro are installed on the same machine

Hehe you know you're absolutely correct because my footage does look 050 much better on my TV hehe. Hey another quick question I had a regular 1394 firewire cable that came with my firewire card and now all of my captured footage has a little tiwtching line at the bottom of the screen. I went online and bought a Belkin 6-6 firewire do you think that'll solve the problem?

P.S oh and it does it for both my Sony and my GL2 so it's not the head for a fact.

thanks

The flickering line is probably coming from the camera and cannot
be fixed. My XL1S has the same thing.

A cable cannot fix this since it is a digital signal. Firewire does not
have analog signals going over it. So there is not influence from
the outside (basically).

Neither will the head be the problem. Problem in digital will result
in frame drops and large blocks (8x8 pixels usually) looking different
than the surrounding blocks. These blocks are called macro blocks
and problems are usually referred to as macro block compression
errors.

As you have already guessed i use premiere to edit with. i have one problem with it at the moment. when i do a big video of a couple of gigs or so i can save the timeline to hard drive in dv format but when i try to import it into premiere later to add to it or do the audio the program jams and crashes. i can open these same files in movie maker etc and they work fine. i can watch them in media player or any other program but not in premiere. i can load it up in moviemaker and then re save it through that program and premiere will handle it just fine even though essentially it is the same movie. Does anyone have any advice. Is it worth deleting all my video codecs or something. i don't know.

Justin

Hi Justin,

We have a place now for all Premiere Q's. So I've moved this into it :)

Can you please provide us with more technical information:

1) What version of Premiere is it?

2) What specification is your computer?

3) What operating system are you using, and version?

4) Do you use any hardware assistants with Premiere (RTX 100, DV storm, DV500 etc) Or just sofware only?


I have a problem at the moment with Premiere 6.5 where it will import a DV AVI file. But when it is placed on the timeline it does not show. My work around was to import it in to pinnacle studio and then re-render it. When imported into Premiere again it would work. I have never got to the bottom of it, and never came across the problem before. I got a feeling that premiere is not reading the headers/timecode correctly in the AVI file. Or that it could be Win XP related?

Cheers,

yeh mine is very similar. i have version 6.0
the computer
amd XP2200+
gbyte GA7VA mother board
512 mb ram
wd 80gig 8mb
nothing else of interest reallyh. no hardware rendering
i don't know what it is. i might look into premiere 7 don't know. i can do the same also by rerendering but would prefer not to. I feel that every time you render there is potential for loss. the only other programs i ahve are cheap free versions so who knows what it will be like.
oh yeh running windows XP pro sp1

Justin
thanks

This probably doesn't help much, but I do the same thing Lloyd does:

1. Edit video and audio in Premiere
2. Export video/audio tracks as one .avi file
3. Create menus in photoshop
4. Import it all into encore

So, the big difference is step 2...this way you don't have .wav to deal with. Hope that helps somehow.

Hi Justin,

Thanks for the extra info...

Have you installed the .02 patch for Premiere 6? That might help solve the problem, and other bugs in the first version of V6. You can find the patch on Adobes website.

Has this just happened recently or has it happened everytime since you first installed it?

If it has just recently happened have you installed/ uninstalled anything before it started to happen?

Cheers,

any suggestion on how to remove or maybe suppress it? also, how can both my sony and my canon have the same problem?

Hi,

I filmed a short in Frame mode with my new XM2.

I usually do my editing in Premiere using my Pinnacle DV500.

What settings should I be careful of when editing the movie?
I'm especially afraid of the De-interlace at capture and then during editing or export.

Thanks,
Tony

Can you e-mail me an exported frame with the line visible?

Are you shooting in 4:3 or widescreen 16:9 anamorphic?

Whether you need to fix that depends on a number of things:

1) if you output to tape or DVD and that will only be watched on a TV you will be okay. TV's have safe zones and will not display the line at the bottom

2) if you output to the web you probably will be safe since you will either lower the resolution (normally to 50%) which will remove the line. Otherwise you can just crop the last couple of lines (does not matter for web)

If you really want to put up full resolution video or the movie is
going to be watched on computers or beamers/projectors then
you can do two things. Add normal letterboxing or add very small
letterboxing.

Letterboxing is the principle where there are two black bars on
top and bottom of the footage to give it a widescreen look. I
personally add them to my movies since they look more like the
real deal. Premiere probably supports this, or otherwise you can
get the masks I'm using (I normally use the 16:9 mask) from my
letterbox calculator (www.visuar.com/letterbox/calc.htm).

If you don't want to add such big black bars you could also add
very small ones that are let's say 5 pixels high or so (depends on
where the line is exactly). Do add them to both the top and
bottom because this will be noticed less. Very small black bars
are almost unnoticable.

So there you go. From my point of view this is quite fixable since
you either don't see it on the viewing anyway or it can easily be
masked.

Capture should not bother your footage. Make sure your project
settings are not set to interlaced but to progressive. Make sure
you export the final movie in progressive as well.

<<<-- Originally posted by Rob Lohman : Capture should not bother your footage. Make sure your project
settings are not set to interlaced but to progressive. Make sure
you export the final movie in progressive as well. -->>>

Bad time to ask this question considering that I've never used anything but the default settings in Premier Pro for capture and output. So with that in mind, what should my project settings for GL2 Frame?

I was under the impression that I should not be making any modifications to the software and that it was more like, what goes in is what comes out, just chop it up and put it together.

Help me on this, I'm now totally confused!

Again, the project settings should be progressive. Just study the
manual and the settings. Default settings are rarely 100% good
for every/your situation.

I went over to the Premier forum on the Adobe site based on this thread and found the question was posed there at one time, the tech supporters answered with:

"Frame mode on the Canon camcorder is transparent to Premiere -- the camcorder still records two fields, it just happens that the two fields come from the same buffer & there is no time delay between them. So Premiere edits it just like any other DV stream."

Which makes me feel better since I've never messed with the defaults and attempted to setup progressive for capture and project setttings.

Thanks for the help Rob...

<<<-- Originally posted by Rob Lohman : Capture should not bother your footage. Make sure your project
settings are not set to interlaced but to progressive. Make sure
you export the final movie in progressive as well. -->>>

Is this setting also available in Premiere 6.5? I cannot use Premiere Pro as my DV500 is not supported.

Thanks,
Tony

Gorgeous, Thanks Rob. :)

Hey Rob I use Premier 6.5 how do I change my setting to progressive form 4:9 interlaced, do you know by any chance?

a dumb question, how to fade to white in premiere pro? i mean, like, to use fade white as a tansition between the frames

thanks...

Just place a white matte on top of the cut and fade it in and out.

You could also use the brightness control with keyframes. Simply apply the effect and a few keyframes and then 'ramp' the effect (normal at the beginning to overexposed - white at the end). Bare in mind though there will be a slight colour change while it is ramping up to white.

That should also work...

Hello all.

I'm having a problem getting an older version of Premiere (v5.0) to open/import files captured on a new XP media center system. Likewise it can't see the connected XL1 device. I think that XP is using the WDM capture driver.

Before I upgrade to newer version of Premiere I'd like some reason to believe that this problem will be solved.

So the question is .. does this set-up work: XP + generic 1394 + WDM capture driver + Premiere 6.5 or Pro?

thanks - L

Hi Lorraine,

A few things to try/ bare in mind:

1) Download DVR-Ripper from here: http://www.thegreenbutton.com/downloads.aspx. THis will convert the file into an MPEG stream, which Premiere should be able to use. I have not tried it so can not say that it works.

2) When you connect your XL1 to the computer, does Win MCE see the camera? It should appear as a canon device in my computer?

3) Adobe Premiere 5 is not supported on WinMCE or Win XP.

4) The UDM capture driver is probably not supprted in P5 and I doubt that it is supported in Premiere PRO. I think they need to use the Microsoft DV compliant capture driver with Win XP Home/ pro.

5) Did you get any error messages? What happens when you import the file?

I doubt that there are many people using MCE as an NLE platform, So I doubt that many people would have come across your problem. You might want to try The Green Buttons forum (found from the link above.

Cheers,

Rendering is much faster from Premiere if you use the same codec it came in at. That is, if you brought the footage in as DV, send it out as a DV based AVI file. If you turn off "recompression" in the output, it is pretty fast except for the effects that need rendered.

From there, Encore can handle the AVI files and do any conversion it needs as part of it's process. You can start that and go to bed. When you get up, finished DVD.

PS, the new version of EncorDVD will finally be able to use QuickTime. Yipee.

Sean

This is easy to explain Lorraine. The world of DV runs under
DirectShow on the Windows platform. Premiere 5.0 does *NOT*
support DirectShow in any way. So no DV devices etc. The only
way this would work is to get a third party VFW (Video for Windows)
codec or a dedicated hardware board.

An upgrade to Premiere 6.5 (or perhaps better yet Premiere Pro 1.5)
is definitely going to solve that problem. Garantueed.

So yes, that will definitely work (your last line).

There are ofcourse also other NLE's out there...

It's really nice to hear about the new version of Encore. What about Prem Pro 1.5, has it got quick time filters.


Indian

Thank you very much for your excellent replies.

I didn't really expect 5.0 to work yet it's good to know about the greenbuttons website and that an upgrade to 6.5 or Pro will work. Exactly the info I needed!


- Lorraine

good news peeps, premiere pro 1.5 now supports 24p(panasonic dvx100ap)
http://www.adobe.com/products/premiere/main.html

woops i guess there are already threads on this..bah..

This may save others some trouble as they migrate to 1.0/1.5 from 6.0/6.5:

1. Deflicker

I'd been using the Donald Graf deFlicker plug-in for Virtual Dub to remove the 50 Hz flicker of outdoor lights at night in Europe and Asia. Premiere 1.0/1.5 installed DirectX version 9 (like it or not). There is some conflict, either between DirectX9 itself or residual components from DirectX8, that causes the deFlicker plug-in to fail. I tried TinderBox deflicker, both stand-alone and as a plug-in for Premiere 1.5. It will install under 1.5, but doesn't work correctly. However, either as plug-in or stand-alone, it is not effective at removing 50 Hz flicker from portions of clips. I finally tried the MSU deficker plug-in for Virtual Dub (not easy to find, but available). It has a Graf emulation mode which works just as well as the Graf plug-in. So . . . it's back to VDub with MSU, but at least I can now remove 50 Hz flicker again.

2. Steadying clips

I tried Steadymove plug-in provided with Premiere in 1.5, but found the results rather poor. I tried Steadymove Pro and discovered that it wasn't compatible with 1.5 -- it produces a black clip. My solution was to go back to the old reliable Dynapel Steadyhand stand-alone. This produces nice steadied clips, but at the expense of a fair amount of artifacting. I got around this by steadying the clip and then importing it back to Premiere 1.5, applying, in order, the Premiere De-artifact effect, followed by the Premiere Unsharp mask. The result is a little soft, but quite pleasing for short shots. Of all the steadying software I've tried, Dynapel gives the smoothest results (though it takes a fair amount of time to process). The Dynapel program has a DV Codec which can be read by Premiere 1.5 and, at least on my monitor, produces steadied clips of identical quality to uncompressed AVI.

3. Color correction

I shoot a lot of night stuff under outdoor illumination in Europe. Lighting tends to be either sodium vapor (which is orange), mercury vapor (which is purple) or some new light which has a much more natural color temperature. Using Premiere 1.5's RGB correction, I can get a pretty good color match of clips shot under these diverse lighting conditions -- they don't look the same, but they blend much better. Good stuff!

Not very many useful ones. A lot of demos though.

Try

http://www.thepluginsite.com/products/download.htm

for a few. You can also do a google search and pick up a few things.

I tried doing a search, but could not find an answer to this question...

Is there a simple way to pan a mono audio track to both channels (L and R) in premiere pro?

I used to use media100 and this could be done by simply dragging the audio across both channels, but that does not appear possible in premiere.

Thanks in advance for any suggestions.

I started a project and captured all my video onto the wrong drive :(

How can I move my AVI files onto another drive, and still have my PPro project know where they are?

Thanks!

Just move em where you want. Then open the project and it'll detect that it's not where it was originally and ask you to find it.

Josh,

Yep, there is a "Treat as Stereo" option in the Project Window. You have to apply this BEFORE dragging it to a stereo track in the timeline. (p. 188 of the Premiere Pro 1.0 manual).

Also, in the Audio Mixer, you can just output ("send") a mono track to a stereo submix track. In the Audio Mixer, the mono track will then show a round pan knob so you can send the mono sound anywhere in the submix's stereo soundfield (ie far left, center, far right or any point in between). (p. 184)

FWIW, I've just decided to do most, if not all, my work in 5.1. For now, my final output to home DVD-R and web-friendly files will generally be down-mixed to stereo rather than 5.1, but it'll be good practice and in case I decide to use a sequence for something more serious later, I won't have to rebuild the audio.

Great, thanks for the tips Pete. Guess I should rtfm ;)

u'd figure they would include that as a preset....i wonder if 1.5 has it .. :D

PPro 1.5 has a "Dip to Black" but not a "Blow out to white and return" type transition. But once you get one you like, just save it as a favorite. Or use a combination of favorites.

i haven't tried fading to white since premiere 6.0 but i had a project where it played fine on my tv's but i showed a vhs tape at a friends house and two of his tv's freaked out when displaying the white transitions.

would be interesting to try a short project now and see if i can find any tv's that can't handle it.

has anyone ever run across anything like that?

matthew

thanks guys for the info everything works beautifully :)

Hello,

I have a Panasonic AG-DV2500 dv deck connected to my pc via firewire. My footage was recorded using an XL1.

I recorded the audio in 12bit 4 four channel mode, now it comes time to edit and I can't seem to get premiere to capture the 4 channels. I'm playing back on the AG-DV2500, and that supports 4 channel audio. In my premiere preview window I can only hear the first two channels, and cannot find any option to make it do otherwise.

Any Ideas?

I don't think that Premiere support 4 channels capture. You can try to use Scenalyzer Live (http://www.scenalyzer.com/main.html) to capture the 4 channels and the video in one pass.

I've had the new computer a few days now. When editing in Premier, without any warning, the computer screen goes black, and the PC re-starts.
Once everything has loaded, I get the message "a serious error has occurred"
It’s annoying because it seems to be intermittent.

I'm running:

Windows XP Pro
AMD Athlon 3.2ghs Processor
1024 RAM
120 gig HD
40 gig HD
Creative SoundBlaster Live 5.1
Adobe Premier 6.5
Pinnacle DV500.

Anyone have any idea?
Further info available if necessary.

Plzzzzzzzzzzz help.

Richard,

I see you have finally upgraded your PC. Did it solve the blurry monitor issue?

We will probably need some more info here:

At what point does it normally crash the system?

Are you doing any particular edits, capturing or exporting?

Did you install Premiere before installing the DV500 drivers?

Have you got any programs running in the background (Anti virus etc...)?

What settings are you using?

...

Thanks,

OK, so I found the tiny checkbox that tells Premiere Pro to scale imported clips and stills to the project sizes. Now my question (or annoyance) with the newer versions is this, In 6.5 all one had to do was right click a clip or image and tell the system to "Maintain Aspect Ratio. You could go into the motion controls and create a colored background for behind any image other than black. It would fill the non image areas to any color you liked.

In this new version, I have to go into Photoshop or use the title tool to create a colored background? Seems like this simple tool has gotten a LOT harder to use in the newer Pro versions.

A lot of what I do is photo montages set to music these days. This used to be so easy to do. Now I have to play in 2 or 3 layers of menues and call up outside applications just to size an image over a colored background?

Am I missing an easier way to do this?

Sean McHenry