Eric Jurgenson
Forum Replies Created
-
Ken,
Check out this thread on the Matrox forum:
https://forum.matrox.com/axio/viewtopic.php?t=1287&postdays=0&postorder=asc&highlight=ex1&start=0 -
It could be the disk (high speed requires higher disk performance) or the CPU (decoding the HDV long GOP frame structure at high speeds). I would try forcing a render, or exporting the original clip to a non-long GOP format and speeding that up.
-
If your editor has a Matrox RTX2 card, it will only export 1440×1080 (not 1920×1080) which is OK, because the movie was shot in HDV, which is also 1440×1080. However, if you open the clip in a 1920×1080 FCP project, you may have to adjust the pixel aspect or the H size to get it to fill the screen properly. If he has a Matrox Axio card, he (or she) would be able to export a full size (1920×1080) file (scaled up from HDV). Either way, the quality should be the same.
-
The best way would be with a capture card (Matrox, Aja, BMD) connected to an external monitor, but some graphics cards have external monitor support for both HD and SD video, like the Matrox Parhelia APVe, or the Nvidia GEforce 7600.
-
You could create a keyframed dissolve with the opacity filter, then copy and paste attributes to a series of selected clips; but it would probably be easier to use the page down key to sequence through the clips, and ctrl-d (ctrl-shift-d for audio crossfade)to add the dissolve (default transition). This goes very quickly – about one dissolve per second.
-
I read a post somewhere where someone had luck by exporting to the root of their drive, not to a folder.
Worth a try, I suppose.
-
I presume you are talking about snapshots.
You can buy a scanner for under $100., but this is slow if you have a lot of images.
I use a digital still camera set up on a tripod, and I place the snapshots one by one on a music stand to rephotograph the images. Don’t get hung up on framing at this point – leave some “bleed” around the edges (Try to get them level, though). This part goes quite quickly – much quicker than scanning. Then I transfer the digital stills to my computer and import them into Premiere. They typically have to be resized individually, which takes a bit of time. At this stage you can also set up pan/zoom moves using keyframes in the effect control window to add some zip to your “slide show”.
Don’t use a super high resolution setting in your still camera – this will bog down Premiere. Use something around 1500 x 1000 pixels. This will give you enough resolution to allow zooming into your image without things getting soft.
-
Yes, it should be “too little – too late”.
-
If you have interlaced souurce footage, you want to set up an interlaced project. Interlaced footage will not deinterlace very well.
If you have 29.97 fps source footage, you will want to set up a 29.97 fps project (except in the unlikely case you are making a film print). 29.97 fps footage doesn’t convert to 24 fps very well.
If you only need SD output, it will be easier (faster) for the system to render to SD. A DV preset would be easy for most systems to handle.
Otherwise, I’d go for 1080i 29.97 fps. This format typically requires a high performance system with a capture card and a disk array. The codec would be whatever your system will support at that resolution. DVCPRO HD would be good if that is an option. HDV would be okay.
-
Huh? What would lead you to believe that Premiere isn’t a good compression tool? This has to be one of it’s strong points, despite it’s lack of batch processing. By the way, I export FLVs from PPRO CS3 and AE all the time (with no issues).