[Jeff Pulera]

Great advice from Ricky. Though encode settings can be set up in Encore, I like to create the DVD assets right off the Premiere timeline using File > Export > Media, for complete control. In Adobe Media Encoder, choose “MPEG-2 for DVD” as the format, and then choose an appropriate preset such as “NTSC Widescreen High Quality”, or maybe you need Progressive?

Then, you can tweak the settings for bitrate and such, VBR or CBR, etc. down below. When going from HD to SD, check the “Maximum Render Quality” button at the bottom, takes a little longer but helps with the downscale quality.

AME will render out TWO files, .m2v video and .wav audio. With you being on the Mac, maybe it uses something else rather than .wav? Ayway, open Encore and create a new DVD project, then Import > As Asset and grab BOTH files and Encore will import to a timeline. Any chapter marks from Premiere will import as well.

By default, Encore will transcode the audio to AC-3 Dolby at 192kHz, the video should remain untranscoded when you build and it only takes a few minutes to create a DVD then since video is already done.

Have fun

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

In the Adobe Media Encoder window, look for the YELLOW path name in upper half of window, which is usually the name of the SEQUENCE. Click on the that and you can then change the name and Save location as well.

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

https://success.adobe.com/en/na/programs/events/1203_16108_nab.html

Take a look at this page and watch the video found at lower right, second from bottom, titled “Interoperability with Third Party”.

Dave Helmly demonstrates CS6 Mercury Transmit with the BlueFish card and there is definitely a couple frames of lag between PC monitor and external display.

Jeff Pulera

[Jeff Pulera]

Hi David,

What version of Premiere and Matrox drivers are you running? With CS5.5, you want to be updated to 5.5.2 and running latest Matrox 6.1.0.100 driver for best performance on the PC.

Thanks

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi David,

Here’s your easy fix, detailed in the Release Notes for your driver –

If you find that switching the export format in the Export Settings dialog
box sometimes takes a long time, such as when you switch from Microsoft
AVI to MPEG2-DVD, rename the SurCodeWrapper.vca file on your system
(for example, rename the file to SurCodeWrapper.vca.bak). This file is
usually installed by Adobe Premiere Pro in the following folders:

C:Program FilesAdobeAdobe Premiere Pro CS5MediaIOcodecs

C:Program FilesAdobeAdobe Media Encoder CS5MediaIOcodecs

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi David,

Are you using Matrox MXO2 hardware?

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Question – how are you determining latency?

1) Looking at computer screen and external monitor at same time

2) Lip sync doesn’t match on external display

I ask because HDMI monitors can introduce a bit of lag with internal processing. Heck, I can have 2 TVs at home tuned to the same channel in different rooms and have a second or two of difference between them, big echo.

If audio is the issue, you should have your audio monitors connected to the display to ensure sync. I use Matrox MXO2 with HDMI to LED display, and connect my speakers to the audio out on rear of display.

If you’re just saying the two displays are a little off from one another…I personally watch one or the other, I wouldn’t care if they match perfectly, not sure how that’s a big issue

Jeff

[Jeff Pulera]

Hi Tony,

If you get a new desktop with a Core i7 processor and an Nvidia display card supported by Adobe for GPU-accelerated Mercury Playback, you should get smooth scrubbing and playback of H.264 clips, and exports to various formats should be close to realtime for the most part (web, DVD, etc.) using Adobe Media Encoder. Be sure to get a second 7200rpm drive for video only.

I do NOT recommend “uncompressed” video for editing in most cases. This requires specialized (very expensive) hard drive arrays. You should have no issue editing your clips natively on a proper edit machine.

You might be thinking of an “intermediate codec”, which converts your native clips to a more robust format (intraframe, 4:2:2 color, higher data rate) which will hold up better for involved color and compositing workflows. One such option would be the Cineform codec, or Avid. An intermediate codec might make editing easier on your old machine, since H.264 is so demanding for playback.

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Hi Tony,

You need to get yourself some training then. Read the HELP files, watch tutorials online, get a book. This is very basic stuff.

I think what may be confusing you on the transitions is the way they behave. You’ve trimmed the end of the first clip to exactly where you want it to end, and the beginning of the second clip is trimmed to exactly where you want it to start.

Then you add a Dissolve between them and you start seeing footage you had cut out! Does that sound about right?

Think of a dissolve this way – the end of the first clip and beginning of second clip need to OVERLAP one another for the dissolve to take place between them. With the 30 frame dissolve, you’re going to see 15 extra frames playing from end of first clip, and 15 extra frames at the beginning of next clip.

Brief history lesson to help you visualize. Older versions of Premiere used what they call “A-B editing”. You have Video Track A and Video Track B above one another, and sandwiched between them, the Transition track. If you wanted a Dissolve, you’d have the first clip on A and second clip on B. The ends would overlap. The transition effect would then be added in between, where the clips overlapped. For a longer transition, move clips to increase the overlap area.

So what can be confusing with Premiere now is that is uses single-track editing, where clips are not overlapped, so when you add a transition those extra frames need to come from somewhere!

So what you need to do when CUTTING the clips is if you know you want a 30 frame dissolve at the edit point, choose what you want as the final frame of the clip, then trim an additional 15 frames off to allow space for the transition to work. For next clip, choose start frame, then ADD another 15 frames before. Now when they are butted together and you add the transition, no surprises. No “Where did that come from, I though I had trimmed that footage!?”

After the transition is added, it is easy to adjust the ends of either clip – position the mouse (Selection tool) at the cut point and it turns into a bracket. Choose left or right of cut to determine which way bracket faces to show which clip you will be trimming. Now HOLD the CTRL key and bracket will change, and then move mouse left or right to add/remove frames from the end of the clip, thus adjusting the edit point. This will ripple the timeline as you adjust, leaving transition intact and no gaps in timeline.

Try it and it will make sense

Jeff Pulera
Safe Harbor Computers

[Jeff Pulera]

Option 1