Jon Barrie
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Are you comparing camtasia export to Adobe export or original capture to export?
Are you keeping dimensions?
JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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It is very strange behaviour.
How about opening a new AE project and importing the old one?
The DL that one into the “new” PPro project that imported the old project?
– JB
You could also just export the AE comp and import the clip, make a duplicate of the sequence with the DL and rename the duplicate sequence with ‘_AErenders” and just replace the DL clips with the exported clips. If they are giving you grief with replacement (really odd that is happening) try making that clip offline and then do the replace with… feature.
Let me know – JB
Jon Barrie
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can you try to make a new project and import the old project.
Then try to replace with the AE comp…Sounds like the project file got corrupted. 🙂
– JB
Jon Barrie
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I am interested in whether your camera can ingest some footage that has been captured in DV SP…
That screen grab I showed about known issues related to LP mode recordings could be in play.
Let’s at least eliminate the possibility the camera or cable or FW port is the problem.
JB
PS: The sequence type makes no difference to the capture settings.
You could have a HDV sequence but the capture settings will remember the last setting used, so if it was DV that would be what it is trying to ingest. (It doesn’t auto correct the ingest based on the sequence settings)
Jon Barrie
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Sorry. I wrote the last post late at night. Must remember to not do that too much. 🙂
Yes. You are right. If ae projects used have got all assets working, just get the ones in PPro to link.
If at the worst case scenario re DL the comps as new imports and replace them in the timeline with the offline versions.
I’ll make a tutorial about it over the weekend to help others out there. 🙂
JB
Jon Barrie
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Did you try to reconnect all the AE projects fiels again too?
As this was not provided on a HDD with an assigned letter to the drive the project and assets are not in the same place (Drive and Letter for that drive) as the original.
You might need to get all the assets Linked for the AE project and save. Then go to the PPro project and unlink and relink the AE DL comps. Then the AE comps you are DL with ‘should’ have the assets linked and show up in PPro.
When a project is shared in this manner and the project files are Zipped, a complete unzip is paramount and necessary. Then assigning the Drive letter to the same drive it was made on will avoid any future problems like this.
Keep in mind the PPro project has lost connection with all its assets including where the DL AE projects are and then the AE comps themselves has lost the connection to their assets too.
Working with AE first and then PPro and the DLs is the way to work this out.
Cheers JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Hi Roger,
Sorry for all the confusion. It appears we were all asking you to make sure everything was set to HDV and not DV. When in fact as you have recorded in DV LP mode, you DO need the settings in DV mode. The Device Controller is the same for DV or HDV so that’s why you were able to control the camera. You couldn’t see the image as we all thought you were working with HDV not DV. Then then we missed a step in confirming the settings for DV not HDV.
Make sure the camera is set to Playback or VTR in DV LP mode and not Auto.
Here is a screen grab of what needs to be set for DV capture.
I really hope this helps with your situation. I can’t imagine how frustrating this must be for you having gone on for so long.
I will do my utmost to be sure and ask what format users have recorded in next time before assuming a HDV camera was recording in HDV. Shame on me.
Again. Deepest apologies, this “should” get you going.
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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This is possibly a bug that has been notified to adobe… which may be linked to the updated Snow Leopard version…
Hmmm.
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Hi gates,
I have used FCP since version 1 and know all about the resolution playback from the timeline settings along with the dynamic setting. 🙂
PPro is 64bit and using all the RAM available as a 64bit native app. PPro also uses all the cores of the CPU to render and export. Which is not done by FCP.
I don’t know what information you have been getting about realtime playback of everything…
Hard Drive setup makes a huge difference to datarate playback ability. RAID 0 is recommended for HD material. An internal Drive that is also running the OS and Apps is not the best way to go. As a MBP you’ll be wanting a thunderbolt drive setup.
There is a great video showcasing PPro using it here:
https://provideocoalition.com/index.php/sgentry/story/adobe_premiere_pro_on_thunderbolt_by_dave_helmly/I am not sure you have understood the processes of video and the massive data rates and compression that requires decompression (CPU) before clips have effects on them (where GPU comes in).
There is another great video by Dave Helmly about the new MBP and PPro even using Software mode Mercury engine:
https://tv.adobe.com/watch/davtechtable/adobes-mercury-playback-engine-apples-new-macbook-pro-17-wthunderbolt/The Mercury engine doesn’t just allow the resolution breakdown it does allow for better playback in general.
PPro saves time on not requiring to convert captured video file structures into another format before it can be edited. FCP and PPro are worlds apart in use of 64bit technology and native file format support.
Keep in mind that even FCPX requires background rendering with effects applied…
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
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Hi Gates,
I will attempt to assist in some of your queries. 🙂
Mercury Engine is always active in CS5 and CS5.5. There are just two modes of it:
1. Software mode
2. GPU Hardware AcceleratedThe main differences are that in GPU mode you gain some extra Realtime support when using the GPU accelerated effects on clips in the timeline while keeping the Playback resolution set to Full and the frame rate maintaining realtime.
When working in Software mode the CPU is doing all the work – even when the GPU accelerated effects are being used. The options to alter the playback and pauese quality in fractions is basically the way the Mercury playback works allowing slower CPU systems to keep frame rates realtime with a lower resolution of image.
Keep in mind the effects that are not part of the GPU accelerated listing such as “Alpha Glow” will still use the CPU to process and benefit from playing back in a lower resolution even with GPU Mercury mode.
The biggest difference with Adobe Premiere Pro timeline and FCP is that if you see the red line on the timeline, that doesn’t mean you “need” to render to get any kind of playback. Most cases setting the Playback to half can keep the playback decent quality and realtime frame rate. 🙂
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
follow Jon with twitter