[David J]

If you have a fixed camera, you could always take a still, cut out the lights, and paste the non-flickering still over the flickery bits.

Or use a matte to isolate the lights on a copy of the video and experiment with the echo filter to blend several frames together to see if that might reduce the flicker.

[David J]

Projects imported into Premiere Pro convert into separate sequences, which can then be manipulated as an entity like any other sequence, or you can delve inside and adjust the detail.

[David J]

The Gradient Wipe transition has a lot of customisable possibilities which are exploited by Pixelan. See https://www.pixelan.com/sm25/intro.htm

[David J]

You can change the units for viewing an audio clip in its own clip window to samples/frames in Premiere 6.5, but even though it appears you can set the in point to closer than one frame, I remain to be convinced that the result is what you expect.

In this area, Premiere Pro offers a significant improvement.

If you can identify a start event on both audio and video, then you could perhaps try using a WAV editor like Goldwave (if you don’t have a suitable program already) to trim off a bit of the audio at a time to adjust tighter than a video frame. Goldwave will open AVI files, but only save in audio formats (eg WAV) – but it offers try before buy from http://www.goldwave.com.

[David J]

You might also try the Lens Distortion effect after applying Motion to shrink the clip. You can see more easily what it does if you use the setup screen rather than the Effects Control Window sliders.

[David J]

Is it possible that you are judging quality using the Premiere program monitor window? If so, be aware that this does not do full justice to interlaced video. It is best to judge quality, colour etc using an external TV rather than the Premiere quick-look interface when editing for video output.

Another possible issue is the image size of your overlay. If its native size is smaller than the size in pixels used to display the image on video, then pixelation (fuzziness) is to be expected.

[David J]

If all the clips are the same size, then you can (in Premiere Pro) set up the initial timeline as one sequence and then scale the whole lot in one go by using that sequence in a parent sequence and applying Motion to it.

[David J]

Wave Warp is a standard effect in the Distort category in the English version of Premiere Pro. Ich kenne die W

[David J]

This is an old chestnut covered many times in earlier posts.

When you apply a transition to the junction between two clips on the same track, Premiere adds extra frames to create an overlap for the duration of the transition. As a result, if you have trimmed a clip near a scene change, the scene change can re-appear part-way through the transition.

Several ways round this.

1. Allow enough ‘room’ for the transition.

2. Place the incoming clip on a different track and apply the transition only to the upper clip. That way no extra frames are added, but you need to create the overlap manually.

3. Double-click the transition on the timeline and examine the detail in the Effects Control window.

[David J]

You can change the Premiere Pro timeline to audio units and sync down to the sample level.

But there are no tools in Premiere to work out where two independent files should be placed to give visual sync to an audio track. That you will have to do by eye using whatever clues you can find in the footage and audio.

If you have a bad soundtrack with your video, life becomes much easier because you can play the external good audio in parallel with the bad audio on the timeline and adjust until the echo disappears, then disable the bad audio – or delete bad and link video to good audio.

Once you have established good sync, it is a wise precaution to place clip markers at the same point in both clips so that you can easily re-sync if you disturb anything later on.