[Craig Howard]

The Transitions are already in Premiere. You do not need additional plug-ins for cool transitions.

[Craig Howard]

Might depend on the authoring program but I just drag the avi file in and let the authoring program code it. Possibly there are better (quicker) ways but it works for me.

[Craig Howard]

Yes – there are a lot of options for exporting from AE.

The trick is to match the project settings (AE & PremPro) and hopefully you set up the project settings with something appropriate to your end use in the first instance.

I do everything DV avi (lossless/uncompressed/best quality)including export final movie. I make other media ( QTime etc) from the fully rendered movie.

A lot of the options you mention are compressed in some way or other.

Craig
Shooter Film Company
Auckland
New Zealand

(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)

[Craig Howard]

should I go the other route and export my 6 min intro in AE and import
it into Premiere to add it before my video I’ve created in Premiere
which will then be exported and then imported into a DVD authoring
program?
>>>>>Export from AE and import it into Premiere ( especially for that length of project)

Also,
What format does the intro need to be when exporting from AE and
brought into Premiere?
>>>>>>Same as the Project. (DVavi lossless will be the best you can acheive)

What format does the video need to be when exporting from Premiere and
brought into AE?
>>>>>>Same as the project ( DVavi un compressed will be best)

Should there be compression settings when exporting?
>>>>>>Better to not use compression (Do not recompress is the setting)

Sorry to blast ya with all these redundant questions. I’m just finding
it hard to find the answers to my questions. There are so many export
options and different format choices to choose from. I’m just not sure
what I’m supposed to do after I’m finished with the video and want to
bring it into a DVD authoring program to burn a master DVD to give to
the duplication studio.

>>>>>Once you have a finished ( rendered ) movie. Ask your duplication house how they want it. It will be a huge (massive) file and you will have to find a way to get it to them.

Craig
Shooter Film Company
Auckland
New Zealand

(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)

[Craig Howard]

There is a Premiere plug in for this and you will need to do a google search. (I just can not remember who sorry – Automatic Duck I think ?)

They are currently developing an OMF2 plug in.

Craig
Shooter Film Company
Auckland
New Zealand

(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)

[Craig Howard]

Capture with Premiere Pro using scene detect.

Or capture the whole tape.

I doubt the timecodes on the original tape will ever be of much future use but maybe you wont or dont really need them.

(You could out put the timeline from PP to a new tape and get new TC if it is important to you)

Craig
Shooter Film Company
Auckland
New Zealand

(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)

[Craig Howard]

I currently have 14 reels (tapes)all organised in a project as 14 sequences. (Each sequence is a progam segment)

It is a bit cumbersome and the project takes a long time to open.

I wouldn’t do it this way again.

(Dont forget to make a Project back up copy as you work if you do)

When I captured I set a capture folder for each segment (named as pe Sequence name). I could now just as easily open a new project for each segment because I know where the media is.

Craig
Shooter Film Company
Auckland
New Zealand

(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)

[Craig Howard]

Personally I cut a multi camera seq. differently to Steven.

I run the take of the “most interest to the edit / story ” on video Tk 1 and that is not (usually) the Wide Shot. It may be the lead actor or it may be the Vocalist (what ever). I treat the other cameras (takes) as intercuts to be used to support the “interest shot”.

My edit method is to overlay them from the source Window to the targeted track(s) above TK1. I avoid the Razor Tool for this purpose.

Once additional tracks build up – I use the “EYE” to toggle vision on and off and I lock the track(s)when satisfied or to protect the edit.

Craig
Shooter Film Company
Auckland
New Zealand

(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)

[Craig Howard]

I have a high end spec computer dedicated to running PremPro and Matrox RTX100E and associated apps. (Audition , After Effects, PhotoShop)

I use it professionally for broadcast and off line editing.

Experience mostly good but…( big BUT)…

IMHO …There remains some tech issues with the combo. Namely a “Timeline Updating” error issue which I attribute to Matrox and the occasional PP freezes and crash – for which I can not find reason or attribute responsibility.

The software only set up maybe worth trying first and you may find this meets your needs. You may not want the hassle of the issues. I know that I dont !

I have a question about this software only scenario though… How does one output to a Program Monitor? ( I consider an external monitor essential for monitoring Broadcast work)

[Craig Howard]

Part of the solution for you may lie in ‘Scene Detect’ which captures the whole tape and breaks it up into clips for your project bin. Each clip is recognised and separated in the capture by the start /stops on your camera.

Scenalyser does this (as does PremPro Capture).

Craig
Shooter Film Company
Auckland
New Zealand

(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)