Hot answers tagged premiere
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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 ...
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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 ...
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Your simplest option may just be to find the same words spoken by the same individual in an earlier part of the interview and splice them in. It will sound much closer to the correct speech than an artificially generated sample.
This issue is the main reason why you don't cut until well after the end of the interview or scene.
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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 ...
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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
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
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!
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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.
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After Effects CS5.5 has the Warp Stabilizer (also check the video on the main Adobe After Effects site).
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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
http://www.propellerheads.se/products/reason/index.cfm?article=rewire&fuseaction=get_article
This is a list of software that is compatible with Reason's Rewire. since it's not on that list, it's not possible, at least not in any sort of convenient way.
Rewire does work with Audition but I'm not familiar with this software. If Audition syncs with ...
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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 ...
3
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 ...
3
Try a parametric EQ, or a band-reject filter (essentially the same thing).
Setup your audio so that you can loop the section with the problem sound.
In your EQ or filter, adjust the controls so that your band is narrow and deep. That is, a small range of frequency is impacted, but that band is almost entirely attenuated.
slowly sweep the filter from low ...
3
Turns out that one should use the Motion effect and not the Transform effect for zooming in Premiere, even though they have exactly the same Position and Scale controls!
Here is the result with the Motion effect
p.s. The Anti-Flicker filter I discovered under the Motion effect was left to the default of 0, so that was not needed.
p.p.s. I also found this ...
2
There is a pop-up menu in the General tab in User Preferences that has all the options in dealing with timecode breaks. There is an option where you choose Make New Clip from the “On timecode break”. This option will make a new clip in the bin when a timecode break is reached.
SRC: ...
2
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.
2
This isn't part of Premiere, but Scenalyzer is an external tool for this that I've had some good luck with. It can scan a large video file and split it into smaller ones based on frame change detection. Then you can work with the smaller files much more easily. There's a freeware version, and a more featured paid edition.
2
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.
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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!
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You should be safe setting playback rate at 0.400. 59.94 is actually 60/1.001 and 23.976 is actually 24/1.001, so the 0.4 multiplier is technically exact. Switch off resample to be sure. Of course, how Vegas actually handles this internally is anybody's guess.
One way to test this would be to generate a frame sequence just containing an incremental numeral ...
2
Do a complete offline edit, it you want the quickest editing, use something like DV NTSC Quicktimes and edit on the fly, it will be SD but you never see the difference, then online to the original by replaceing footage back to your H.264...btw play around with your settings in Premiere and do some tutorials, there shouldnt be a reason an H264 file does not ...
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FCP can export an XML file that contains the basics of your sequence. Premiere can then import this and create a native project file based on the contents of that XML. I'm pretty sure Premiere can also export a similar file for import/conversion into FCP (I haven't tried though).
It's worth noting that the formats are likely to change considerably years ...
2
To be fully honest, it's impossible to tell.
Even now, there's a bit of an industry battle between FCP (which is dead following FCX), Premiere and AVID.
Your best bet would be to edit in Premiere and keep an ear out, upgrading every 3-4 years with Premiere and possible emigrating the project over to whatever NLE is the industry standard at that time.
...
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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 ...
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Either Avidemux or FFMpeg+Avisynth(+Avanti) will do the job. The former should be faster to get going.
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A common problem for a slow edit is incorrectly setting the codec of the sequences.
Unless under very specific circumstances (of which I'm not sure of), you should set your sequence codec (when you create the new sequence and Premiere asks you what preset it should use) to be identical to your footage.
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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:
...
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You want to use an effect that's called a 4 point garbage matte. It allows you to set 4 points which create a box and everything outside it is removed.
Here is a link to a tutorial on how to use the effect 4 point garbage matte.
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