[Jerry Wise]

Thank you all for your answers. I won’t be using proxies myself but since we are probably going to switch to Premiere CC for news editing the news folks are freaking out. I mostly like working with Premiere CC and i would want to make sure the news folks have a smooth and stress free transition so they are asking me questions. I made the transition from FCP7 to Premiere in about an hour…it was that easy. Also i told them that they could map their keyboards to mimic Avid.

[Jerry Wise]

yes i just did it.
so you place 1 of your titles in the correct place using the “motion” tab.
right click on “Motion” tab and select “Save Preset”.
select all of your titles on your timeline and go to the “presets” folder in “effects”.
drag the “motion” preset to your selected titles in the timeline.

[Jerry Wise]

well you could set 1 of the subtitles to where you like it and then save that “motion” as a preset then select all the subtitles and apply the saved “motion” preset.

[Jerry Wise]

i saw a post a while ago about un-ticking “Loudness Normalization” in Media Encoder settings under “Effects”.

[Jerry Wise]

double click your clip from the Project bin. go to your Effects tab and select Video Effects/Distort/Transform. Drag Transform to your clip in the Source window resize to your liking. each time you insert the clip into the timeline it will be resized.

[Jerry Wise]

oh yes…the sound of those spinning heads brings back many memories. i did some splicing but mostly is was syncing up 3 or 4 vtrs and rolling them all at once and then making your dissolves and keys thru the switcher. if your sync was off you had to resort to marking the tape with a marks-a-lot so you wouldnt go back to the same wrong sync point. the best tape on the market was 3M 420. your masters looked great and your dubs looked as good as your masters. before automated playback of commercials at the station you had 2 vtrs for commercial playback and as one commercial finished you had to very quickly rewind the tape and put the next tape on the machine before the current commercial was playing ended or you would have dead air. it was crazy but fun. then came the CMX and time code.

[Jerry Wise]

use “set to frame size”. then you can zoom in and pan around and lose no quality.

[Jerry Wise]

also your clip might be lower field so you will want to make it upper field.

[Jerry Wise]

we use stock footage often. we buy footage that is 1920×1080 at 30 or 24 fps. sometimes we get footage that is at 25 fps and it works well. since we are a broadcast station we are airing shows and commercials that are 30 fps(29.97). so if we get footage that is 24 fps then Premiere adds the “3/2 pulldown” and all is ok for broadcast.

[Jerry Wise]

i don’t see anything wrong with your footage. you shot in interlaced. on my system i can look at the scene where a leaf falls center screen and on my computer monitor looking at “program” and select “150%” instead of “fit” you will see scan lines. on my 1080i broadcast monitor i see field jitter. it’s normal to see that since you shot interlaced. on my tech monitor which is a progressive monitor i see no jitter but i see scan lines. in your timeline you could right click on your clip and select “field options” and then select “flicker removal”
i did that and on all my monitors the field jitter and scan lines are gone. give it a try.