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6

There's a philosophical difference between delivery codecs (e.g. mpeg4, avchd), editing codecs (e.g. DNxHD, ProRes, Cineform), and capture codecs (e.g. r3d, DVCPROHD). While almost any codec can be used for each of these three stages, your workflow needs will help you decide which are best suited for each stage. The question you seem to be asking, is ...


5

You can use the multi-camera feature in Premier to achieve this. From Adobe's page: To easily synchronize footage from all cameras, make sure each camera records a sync point using a clapper slate or other technique. Keep each camera recording to maintain synchronization. After you capture the footage in Premiere Pro, use the following workflow to ...


5

I can't give an After-Effects specific answer, but maybe this will help.. 1 - If you want to color a specific part of the image, deal with "region based filtering." In DaVinci-speak, that's Power Windows. Masks, Shapes, Roto. However you phrase it. That's how you tell the computer what part of the image you want to effect. Tie the mask to a tracker so ...


5

While chroma-keying is a good technique for dealing with solids, it doesn't work so well when dealing with transparent or semi-transparent objects. Because the difference can be very subtle, you want to copy the difference instead or blend off luminance. In Premiere, you can use the Set Matte effect to set a track as a luminance matte. In the case of the ...


5

Is it possible? Sure, just setup each source clip as a sequence that has the audio feed you want for that shot and leave the tracks linked so that you cut between both video and audio. Is it advisable? Probably not. People are far less used to changing of the audio scene they are watching. Video creates kind of a disconnect between the scene we are ...


5

Version control in the sense of Git isn't very practical in the video world. You would need to make a specific version control tool for every audio and video tool out there as all work with their own project formats. But being able to read these formats is just one thing, then you also need the render engine of that tool to show diff's. Though all of these ...


4

Premiere Pro CS5 should be able to import H.264 video, IIRC, however it may be having trouble with the audio and/or container format. With ffmpeg try re-muxing the video stream without the audio: ffmpeg -i input -an -codec:v copy output.mp4 -an -codec:v copy output.avi If both output.mp4 and output.avi work then we know that the issue lies with the audio ...


4

Adjusting the default video transition duration Go to Preferences -> General and change the Video Transition Default Duration to a frame amount of your choice. Optimising current workflow I can think of some optimalisations regarding your current workflow. It's not a drastic change, but might help you do the task faster. I would suggest splitting the ...


4

That looks more like a 'field' from the video, rather than a frame -- jagged diagonals are the tell. If your video is interlaced, you may only get half the vertical resolution in a still, unless you specifically set it to output a full frame. Check the export settings.


4

This is a well-known bug when exporting to H.264. Unfortunately, I'm not clever enough to understand why this happens, but it's a side effect of using the codec. I'll keep looking for an explanation I understand, however I wanted to get this answer out there. As a workaround for now, I suggest making a quick little eyeball adjustment to the comp's colour ...


4

First off, you would normally use After Effects for special effects such as Chroma Keying. That being said, Premiere Pro is capable of chroma keying quite decently. Here's an example using free smoke effects by JohnnyFXEffects. Set up your scene as you usually would, and then go to the 'Effects' tab. (1) From the 'Keying' folder, select the 'Chroma Key' ...


4

This kind of data is actually remarkably hard to come by. There are a few industry reports available for thousands of dollars, but the best free resource I could find when I was searching was an informal poll that Dave Dugdale did. It was an imperfect test by his own admission because it allowed both voting up and voting down, but it gives at least some ...


4

Just to add to the previous responses: While there's nothing quite like Git for the video world, there are Digital Asset Management/Media Asset Management tools that can more or less do the same thing - version control and permission/user management (they also do a lot more, as they're really built as libraries for your media). For years, I used Apple's ...


4

You imported the footage with the resolution set in your timeline by choosing set to frame size. Thats not what you want in this case, it adds black bars wherever your footage doesn't fill the frame size set in for the timeline. Premiere would have kept the correct aspect ratio either way, it doesn't automatically stretch footage thats not the same ...


3

In Premiere, a possible, easy approach would be importing your footage to the library before creating any sequence, then right click a clip and choose 'New Sequence from Clip'. Premiere will automatically adjust the settings according to the clip's properties. This is also recommended by Adobe (3rd paragraph).


3

Is the watermark a video or a still image? If it's a still you can usually just increase its duration. Otherwise, copying and pasting is the best way to go about it. Copy and paste it 10 times, then select the 10 clips, copy and paste that 10 times, then select the 100 clips, copy and paste that etc. until you get the desired duration.


3

I don't use CS4 but in CS5.5 you can do it this way: Open the Composition dialog, open the Settings tab, and choose Custom as preset (this should be the first entry). Now you can change all parameters. To save you preset, click the button Change preset at the lefthand bottom.


3

Have you rendered the work area? Unrendered clips can lead to lag in the playback. If you have rendered your clips the bar above your clips in the timeline should light up green instead of red or yellow (see picture below). If the bar isn't green, go to Sequence->Render Entire Work Area. Done!


3

I think the traditional knowledge is that if you want to be an editor, then you should know how to drive all 3 of the major programs (Avid, Final Cut Studio, and Premiere), and maybe some of the less mainstream broadcast editing and finishing systems (e.g. Smoke). You should probably know a handful of specialized audio programs too. Lucky for you, the ...


3

If you're not impressed with X then I'd suggest going back to version 7. Learning your way around a new program will be a pain in the arse. I'm not sure how professionally you work but if you can be bothered, Avid is a great program once you get to know it. Otherwise, man, I'd probably just get used to FCPX.


3

After Effects CS5.5 has the Warp Stabilizer (also check the video on the main Adobe After Effects site).


3

Select the clip you wish to work on in the browser, then in the top menu bar for FCP, select Mark > DV Start/Stop Detect. This will break the clip up by the start/stop metadata generated when you were shooting. The options in the user preferences are for timecode breaks that occur during capture. ps: I don't know when this DV Start/Stop Detect feature was ...


3

If you have a 8 core CPU I'd bet it is a fast one too, so that shouldn't be a problem. 16 GB is more than enough for HD, and DDR3 should ensure the speed. The GPU shouldn't have much to say as long as it's not crap. If you have 6 slow harddrives, it would be a bottleneck. You should have at least 7200 rpm disks!


3

Drives are definitely the answer. My miniDV setup worked fine with 5400rpm, but HD playback looked like internet video from 2004. Upgraded to 7200rpm internal SATA drives, and ~most~ of the time, I've got good results. While I've never done any work with SSDs, I suspect those would be the ideal circumstance. For external drives, I've used 5400rpm USB2.0 ...


3

Use Mpeg Streamclip, its an industry used conversion software that is reliable and fast, and free


3

I dont know of any software for Premiere that can do this (there are plugins for After Effects but cant find any for Premiere - thats not to say they arent out there). I think your best option would be to export your sequence as an XML. You will loose any CS5.5 features there are not in CS3, but this would occur regardless of which method you use to get ...


3

As you have discovered Premiere Pro doesn't let you move the tracks as easily as that (I wish it did!) Fastest method would be to create 1 or 2 empty tracks (right click on a track label and select Add Tracks) then use the Track Select Tool ('A' on the Keyboard) to quickly select an entire track: (Click and hold lets you select and move the track at the ...


3

1080 would suggest full HD, the rub is that DVD is not HD. At best DVD is 720 x 480 so I believe that PR5.5 like many other pro editors is scaling your 1080 to fit in this smaller screen format, so letter boxing would be expected.


3

Analyzing the files that fail to open in contrast to those that do open just fine shows one glaring problem: All lines in the project.prel file (which is just an XML file) where there should be decimal numbers in <StartKeyframe> or <Keyframe> tags are damaged. Example: Correct version: ...


3

If it's NTSC/standard def/4x3, 640x480 will be good. If it's HD/widescreen/16x9, 1920x1080 or 1280x720 (1080p and 720p, respectively). Premiere will likely have presets for all of these aspect ratios. I would ask the projector owner for the pixel dimensions or pixel resolution. Likely, it'll match one of the above pixel dimensions. If the owner's not very ...



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