[Danny Winn]

Hey Tim,

If you’re capturing at 1440X1080 then I would export your HD project as an MPEG2 with the HDTV1080 selected. A 30 second clip is only 68mb’s and it’s a beautiful full HD. I would also set it to progressive as opposed to interlaced.

As far as the HD stuttering in the project mode, mine does that as well some of time and I have a Super High end computer, it seems to play smoother the more times I play it. I would recommend upping your ram to 4 to 8 gigs if possible.

Sometimes my overdubs are slightly off after output too, so you may have to tweak them a few times till you get the perfect output. I don’t know why they seem to be perfect in the project and then different after output. The whole CS4 PPro needs several glitches fixed IMO.

Here’s a link to one of my videos that has these output settings in HD: https://www.youtube.com/watch?v=bMXsZEwBV10

Hope this helps.

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[Danny Winn]

Hey Els,

I’ve never had real success with the Dynamic Link (not to say it doesnt work) but what I do works great.

Open After Effects and then go to file and select “Import Premiere Pro Project”.
It will take a few minutes to load.
Then, this is important, find the one file within all the files you can see called “Sequence 1” and double click that one file. DO NOT DRAG ALL THE FILES INTO THE NEW COMP BIN.
Once all the files load into the timeline you can use keylight and set your best settings for keying then copy and paste that setting to all the other clips.
Once finished you can render out from After Effects.

Sometimes some transitions do not transfer over to After Effects, I don’t know why but AE does have simple dissolves so you may have to add them again in AE.

The Cow has a great Tutorial for green screening with Keylight by Andrew Kramer, I would watch that if you’re new at Keylight.

Hope this helps man.

[Danny Winn]

Hey Austin,

What effect exactly are you trying to acheive here? If I know what the end result is supposed to be I may be able to help you better.

lemme know man.

[Danny Winn]

Only if the background is a solid color like green or blue for keying. But if the background is busy with multipul colors then no. You’ll have to hand draw a mask around the hand using the pen tool, click the mask stopwatch, and then change the mask points each frame.

What is it that you’re trying to do exactly?

[Danny Winn]

Actually it makes perfect sense. You’re asking for 50% of each Black Solid and that’s what it’s giving you. If you want 100% then just keep the one Black at 100%. I don’t get it:/

What exactly are you trying to do with all this?

[Danny Winn]

First let me just say that if your camera has a manual “White Balance” option you should always use it, make it a habit so your whites don’t come out looking brown. My guess is that you shot it with regular indoor lighting.

The thing about auto levels is that it changes as the scene changes, that’s why it’s doing what it’s doing.

I would get rid of the Auto Levels effect and try messing with the “Hue and Saturation” or maybe the “Curves” settings. The truth is that if your whites are not already white, it is very difficult to change them in post. But, you should be able to get a more pleasing look than what you have now.

Best of luck!

[Danny Winn]

Ok, there’s two things you can try.

But before you try this, make sure you’re not trying to get a 16:9 (widescreen) frame into a standard 4.3 frame. I would imagine you already checked that.

1. Select the clip(s) in the timeline and right click, from the pop up menu click on the “Scale to frame size” option. That should scale it right to the correct frame size.

2. Select the clip in the footage que (Not the timeline), then go to file, and scroll down to the “interpret footage”. When the screen comes up select the proper settings.

Again though, this wont look right unless your footage and project ratios are the same, 16.9(wide) with 16.9(Wide) or 4.3(Standard) with 4.3(standard).

Good luck.

[Danny Winn]

Well 24fps will help a little, but to really get a film look there is so much more than the frame rate.

Go watch this tutorial found here at the Cow, it’s really meant for using After Effects but many of the color corrections can be done in PPro. If you have or can aquire After Effects it will serve you well.

LINK: https://library.creativecow.net/articles/swanson_grant/Creating_Digital_Cinema.php

Film look is really alot to do with color and softening edges and much much more as you will see in the tut.

Hope this helps.

[Danny Winn]

One more thing Donato,

It looks like many Final Cut Pro users are using a free program called Streamclip to transcode Mpeg 2’s.

Download Streamclip, which is freeware. Besides doing very nice transcoding, it also functions quite nicely as a player, and it will handle MPEGs of all flavors.

[Danny Winn]

Hey Donato,

FC should be able to read the simple Mpeg 2 file. This paragraph was taken straight from Apple.com

“You need a QuickTime 6 Player or QuickTime 7 Player and the MPEG-2 Playback Component to view MPEG-2 content.” Sounds like you may need to update your version of Quicktime and check into the MPEG-2 component.

At this time it is the only capture option that I am aware of in Premiere Pro.