Eric Jurgenson
Forum Replies Created
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You can install ProRes codecs into Premiere (playback only). They can be downloaded from the Apple website.
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What version of Premiere are you on? Have you installed the updates for that version?
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Jason,
you’ve got so much going on in this clip, it’s hard to tell what is a technical issue and what is intentional. But let’s presume that this is intended to be a straightforward edit with cuts and dissolves, and all the positional and temporal jumps, and the wierd color transitions are caused by a glitch in the machine.
In that case, you are running Premiere on the wrong system, dude. None of this stuff is normal, and I’ve never come across this type of problem, personally or in the forums.
In fact, if I weren’t a naturally trusting soul, I would suspect that you are pulling our leg.
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By “Jumpy”, do you mean “Flickery”? Or is the footage actually jumping around on the screen?
To get the best results, your project (sequence) settings should match your camera settings (resolution, aspect ratio, frame rate, progressive or interlaced scan).
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Check out the Matrox MX02 Mini ($449.):
https://www.matrox.com/video/en/products/mxo2_mini/ -
I’m pretty sure it’s got to be FCP. Licensing issues, or some such thing.
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I think you need FCP on your computer to enable ProRes export. Otherwise, it’s only playback.
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You may want to consider a Matrox RTX2 card. The included chroma key filter is excellent, simple to use, and real time, which saves a lot of time if you have a lot of chroma keyed material to process.
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Progressive settings look flickery on moving objects compared to interlaced settings. The slower the frame rate (24P), the more the flicker is evident. The advantage of progressive is that it has a more “filmic” look, and can look better when viewed on a computer monitor (which uses progressive scan). Also, frames are easier to work with in graphics programs, like After Effects.
Action footage is typically going to look better interlaced. I would consider using progressive for interviews and lock-down (tripod) shots where you want a filmic look.
Don’t try to deinterlace interlaced footage (by using it in a progressive project, for example) – it cuts the vertical resolution in half. On the other hand, progressive footage will be fine in interlaced projects, albeit with some flicker on moving objects (no different than it would look in a progressive project).
Higher shutter speeds reduce motion blur, and increase flicker, so they are counter-productive if you want less flicker.
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HDV-MPEG and M2T are both MPEG2 formats – basically the same thing.