David J
Forum Replies Created
-
How are you managing the export? By playing the timeline? Or by using Print to Video?
If the latter, then there is an option to set the amount of black before the program starts which defaults to 1 second. Could that be the cause?
-
If you do not have a suitable audio program already to do the format conversion, then the shareware download from http://www.goldwave.com will give you a conversion facility.
Use the same program to change the sample rate to match the project if it differs at the moment.
-
Possibly the format of the problem audio is not recognised by Premiere, even though Media Player can handle it.
-
Funnily enough, although no-one seems to have noticed, blending frames as a way to reduce flicker was why I suggested trying the echo filter in my earlier response.
-
Just a guess.
Rendering creates temporary files on disk,.
You might check where the temp files are being created, ensure there is enough disk space free, and run a disk test to see if there is an issue with the volume.
-
Premiere doesn’t edit Real format.
“real media to AVI” generated lots of possible alternatives from Google, including https://www.realconvert.com/
-
Forgive me if I cover old ground with you.
Since you are in NTSC, is it possible that your overlays are too white or too black?
NTSC safe colours range from around 16 to 235 rather than 0-255 due to the encoding technique used. No such issue with PAL. See Broadcast Colors in the Premiere on-line help.
Fine detail is also affected by the interlaced reproduction on a TV. Best to avoid small, fussy fonts and graphics with fine horizontal lines.
Looking at small graphics on the computer screen is always likely to give crisper visuals than an interlaced video on a larger TV.
-
If your source material is from a DV camera and you are using a matching Premiere preset, then the output to tape will be shown at full frame on a TV.
If you view footage from some cameras on a computer so you can see right to the edges of the frame, then maybe you will see some black edges. These edges should be hidden behind the bezel on a TV, but you might need to crop them off if you output in a format designed for viewing on a computer.
Have you set the Premiere Pro monitor to ‘fit’?
-
In the bad old days, there were lots of problems with audio drift caused by variations between sampling rate reported for a file and the actual rate used by the recording hardware. Canon cameras featured most in this area. This problem should be resolved in Premiere Pro due to the audio being conformed to a standard rate before use on the timeline.
It is possible that WMA is causing the problem. It is better to stick to WAV format for video editing.
Which version of Premiere are you using, and which sample rate for project, video and imported audio?
-
Normal 4×3 DV PAL uses 1.067 aspect ratio using a frame size of 720×576 rectangular pixels that are wider than they are tall. Any material (eg graphics) in square pixels should be at 768×576.
Normal 4×3 NTSC DV uses 0.9 aspect ratio with rectangular pixels that are taller than they are wide at a frame size of 720×480.
D4 is for material filmed through an anamorphic lens.
https://beum.com.ne.kr/premiere/Help.htm might be helpful about formats.
PhotoShop CS allows you to work in non-square pixel space, but earlier versions only understand square pixels and you will get geometric distortion if you don’t follow the above guidance on choice of frame size.
If you set both the Premiere project and the AE project the same values for frame size, you should not get a black border when you swap material between the two applications.