[Ht Davis]

If you use encore to make an F4V file, you can simulate a DVD\blu-ray in a usb drive, and you can wrap the same files into an F4V, setting the timeline end action to go back to the first chapter or marker you set in your encore timeline, or use link back here, which should play a loop of your video. Export that, place on the drive, and pop into your TV or set-top player usb.

[Ht Davis]

Yes. It is an effect. Simply placing it on a timeline is not, but it is bigger than your sequence. It is rendering a lot off-screen, in areas that are completely undefined for the video.

Zooming is an effect. Playing video is an effect, it’s just a bunch of stills being played really fast. FCP?
What version? FCPX? IT conforms your input on import. Premiere expects that you know what the hell you’re doing, that you are professional enough to conform your material to your sequence if it is too much different. If you are hoping to get a zoom from a large still that goes far beyond your sequence, you need to do so in a program that handles a larger workspace.

Plus:
Don’t discount file errors. PNG has it’s limitations. Look them up. I’ve had similar issues with a WAV file that went beyond the standard WAV spec (it was a 6gb file and WAV supports 4gb). Check your resolution and file size against PNG specifications. It may be that you have gone beyond that spec and premiere doesn’t like that. After effects was made for working with files like that. It only defines them loosely. You could put it in AE and then bring in the comp. That would allow you to set your zooms from a rendered or ordered clip. Premiere wouldn’t bat an eye at that, as it wouldn’t have any attribute except being video data. You should be able to play then.

[Ht Davis]

Does it freeze on import?

[Ht Davis]

Cuda is error ridden in Yosemite.

Try going back to a Mavericks version of the driver and installing that. Then try CUDA. Not certain if this works, but I’ve heard a few have had luck with it. They are working on it, but may not have a fix until the next iteration of the OS.

[Ht Davis]

I’ve had the issue appear as well. Especially with mts. They are not fully supported files on any machine but the cameras that use them.

Here’s the scoop on the poop:

First fix the MTS by recoding them. You’re better off with h264 or even pro-res proxy on mac, and if you want to do that, use the old download of the pro-res components with the CS6 copies of the settings for AME to export to them.

On top of that… You need to keep the cache internal on a fast drive. You need to keep the video and audio files (sources) on fast drives, but they don’t need to be in the same place. Finally… KEEP YOUR PREVIEWS TOGETHER ON ONE DRIVE IN THE SAME FOLDER. They need to be inline with each other for audio and video previews.

Finally, maintain your drives constantly. If your drives are running anything else besides a source video or audio, you will see problems when loading. Your machine needs to conform a cache for your editing environment. IF that cache is not local, or on your main drive, you will end up with problems because it needs permissions to react a certain way (an active system memory cache must have root or admin permissions, or at least the mac system permissions to write to their chosen directory; no other system will comply with that, and external disks, even formatted as mac hybrid HFS are iffy at best). Repair permissions. Repair drives. Do not save cache files next to their originals… …this has proven to be problematic when originals are external drive based.

I load projects with 6 cameras each with 2hours + of footage and at least one external audio source of similar length, all in about 3 minutes on a Macbook Pro (2008) core2duo 2.16ghz 4gb ram 256mb video gfx and 2x 1tb 5400rpm hard drives, one of them formatted as exfat. I use a sparse image of about 90gb to store project file, stills, png titles\subtitles and illustrator project, encore proj, audition proj, CD layout of audition, audio source external (usually recorded in audition), and occasionally some of the proxies for the video (sync in plural eyes so I use an MP4 proxy for this then replace with pro-res proxy for edit, and later pro res LT for output, gets great quality even in MPEG2 for DVD).
I never use AME for output compression. I always output a pro-res output first, then compress that in Compressor using a batch command to do audio and video separate encodes to use in encore (which I keep in the disk image as well when they finish). When I’m done, I use a blu-ray XL or RAR and burn to dvd for archival. Of course, I work in 1080p at the highest res right now. Haven’t done 4k yet.

[Ht Davis]

Therein lies your problem. Premiere is not AE.

Premiere is sequencing, not effects. It has a few effects and it’s engine can handle a few, or link to AE for help when you use an AE comp, but it cannot do it on it’s own.

You say it freezes… …Did it freeze on import of the file? Or did it freeze on Sequencing it?

The problem may be with your sequence being too small for the file or the pixel aspect ratio not matching up. If it doesn’t like it on import…

PNG is portable NETWORK graphic. While there is some support for this file type at 1080, I haven’t seen much support beyond that. You may want to try a TGA or a TIFF.

Rotoscoped?
IS this a moving image or a STILL? A moving image shouldn’t be a PNG but a GIF. If the image already moves, you should add the zoom in After Effects with the rotoscope by using a nested comp. Once you bring it in to premiere as an AE comp, set the zoom to conform to your sequence size as you want it with a key at frame 1 of the clip, and then zoom in further from there as you wish.

[Ht Davis]

55mbps?!!!! Yikes that’s high!!! Try creating a Proxy with a lower Bit rate dude!!!!!

Make a proxy only for editing purpose, then use a bulk or full format video for the output stage.

Put your clips into premiere, begin placing into sequence, then offline them, and relink to a smaller file (faster playback, lower resolution and MBPS), and then interpret the footage to your sequence settings, and edit away.

ALSO:
Keep Caching on internal disk, make sure you’ve got at least 40gb free space.

Keep audio and video previews on the same drive. This will allow faster in-line access when playing back rendered edits.

If you are creating a proxy, I suggest a proxy mpg or h264 with a 20-25mbit rate. You might also turn off the rendering on your graphics card. Most systems win7 and above look for the processing on the main CPU first, and when there is a GPU present, will find it, and use it as well, compounding the power of your CPU rather than trying to send an allocation to GPU, then the data, then process only what it can handle, then pass an allocation back, then back to memory and write out for use in app. No, man… …Send an allocation request for graphics to CPU, which allocates for GPU as well, and then pass the full weight to both and process, then send both back out along the same operation pipe, to memory and then drives for use, while polling cpu and gpu again. Two processors for the price of one and faster.

[Ht Davis]

All professional cameras have an image stabilizer if they were made in the last 10 years. Most consumer or Prosumer have had them for about 8 years. I agree with the VFR being the problem.

Forget handbrake. Use AME, re-encode to a bulk and proxy, but turn on FRAME BLENDING. This will find the missing frames and “Guess” them with great results by using frames that have been uncompressed first. You don’t have to download handbrake.

Alternatively….

Interpret your footage to the frame rate you want in your sequence. This should help some, but it may affect the quality in areas where the frames drop, but it might solve the audio problem.

[Ht Davis]

192 at 48k?
192 is either your bit-rate or your sample rate… Seing as you have the 48k, I’m guessing bit rate, and that you conformed that in AME or another encoder. If they play in VLC and others, you may be looking at a bit-width or file size problem. Check the AVI spec on wikipedia, and make sure your file conforms to normal audio component standards with AVI. It may also be that you are using an audio format that premiere doesn’t like. Uncompressed conforms to WAV or PCM standards. You may have better luck re-encoding the files.

Premiere want’s 96khz and below for samples, but bit-rate isn’t really a consideration unless we’re talking WAV files (it won’t read non-standard WAV, or anything bigger than 4gb). Your bit-width shouldn’t be more than 24bit for smooth conforming, but I’ve had great luck with files of float 32-bit with audio only outputs to MOV or CAF, which do not have an audio file size limit you’ll reach anytime soon.

Make sure you turn on the audio tracks, make sure your playback device is set correctly (AdobeDV is a playback engine that pipes through your machine to your standard audio out, whether that’s a device or not it must pipe through your audio drivers first, at least on macs). Also, make sure your audio is not still conforming. If it takes a while, it won’t play for a while. I’ve had the same issue for over an hour when the audio was a huge .MOV. Check the bottom corners of the window for messages about that.

[Ht Davis]

PS.

the camera time of day is an internal clock, not necessarily in the video file. You need to sync to some other timing cue or source.

Cue would be an audio or video cue that you can mark by a specific frame, and then align them all to that. A clapper is a great example. Otherwise, find a very heavily pronounced consonant sound, and mark it; then continually adjust with only 2 videos at a time until aligned, then move to the next set.

A timing source could be an audio or video marker for the time that is exact. There have been very few video box based timing sources, but for audio, you could use a single audio source box with an internal timing mechanism and multiple outputs to send to your cameras if they’re not mobile (or send an output over wireless if a camera is mobile); the audio timing source would be the same for all of the cameras, the audio would be essentially the same, and you “SHOULD” be able to sync by the waveform of the audio very easily.

If you want more help, send a message…