Paddy Uglow
Forum Replies Created
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Whew! I’m glad I’m not the only one with this problem; we’ve just installed Premiere Pro CS6 on four i5 Macbook Pros for an imminent workshop. A test with the Trial worked OK a while back, but on these Creative Cloud installs, yes, only a few frames of playback on the timeline or in the clip monitor.
I even set up a DVPAL project (rather than the HD stuff I was trying) and just put Black Video in the sequence and it couldn’t even play THAT without stopping a few frames in!
Here’s what I did and it seems to be working now:1. I tried deleting the plist file first (logged in as a non-admin) but it didn’t fix the problem.
2. Next I went in as Administrator (I’d installed Premiere Pro CS6 as a non-admin user) and ran the software update. I ran P-pro as admin and it played back fine.
3. I logged back in as the non-admin users and it worked OK then too.Our macbooks are running 10.6.8
Good luck getting it going – much as I like using premiere pro, I have had some nightmares with various versions – one of the reasons I’m still running CS3 on my main machine!
I wonder if I’d installed it when logged in as Admin it would have fixed it, or if it was just the update that fixed it, not the plist. I’ll try it out on the others and try to let y’all know.
– Paddy
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On the subject, what do people choose as the rendering codec in the P-pro project setup? I usually set the project to Desktop, import h.264 and set the rendering to AIC. I imagine that’ll give me better depth and better speed when rendering effects, instead of setting it to h.264? Though, presumably, if I’m editing DV, I’ll have rendering set to DV.
(I’m using CS3 by the way)
Thanks
– Paddy -
For jaggly edges, I use some gaussian blur to blur out the stepping on the edges, then Unsharp Mask (with a big radius). It’ll mess up the colours (you’ll probably have to re-colour) but the process can do a good job on removing jaggly edges.
I hope that helps.
Paddy, Creative Media, UK -
Ooh, thanks! There are so many things hidden away in p-pro that don’t appear in the menus; I should do more hovering over buttons to see what’s available. (like I didn’t know about shift-L and shift-J to alter playback speed – I used to sit there with my finger on the mouse on the shuttle control!). Oh and *there* are the templates!
I think I’ll combine this with my copy-clip-and-replace-from-bin technique; so I can make multiple instances of a title using the T button, duplicate my clips (with their fades and any other keyframed stuff), then replace contents with the titles in the bin. Better than copy-pasting titles in the bin (‘cos they all get given the same name)
Excellent: saved some time and reduced risk of mistakes! 🙂
– Paddy -
We’re looking at JVC’s hm150 too (or a second hand hm100 if we can’t afford it – the 100 seems to have worse low-light performance but is almost identical in many other respects).
I don’t know if I’m missing any other cameras on my list, but the JVC seems to be the only one with
1. 24, 25 and 29.97-based frame rates (so we can match it with our 25fps 550D and PAL DVDs and also our little cheap 29.97fps cameras). And 24fps is ideal for making in-house DCPs for our cinema.
2. phantom power XLRs
3. SDHC storage without complicated capture workflow (I use premiere mostly, but also a bit of FC Pro)The removable handle/xlr bit is attractive too.
I just don’t know if it’s reliable; our last JVC product (a DV deck) worked fine, but didn’t like the DV tapes from our XM1 and 2 cameras very much.
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I got a YN-160 LED battery light from eBay recently. I’ve only used it to light some scenes (not interviews) so far, but I’m pleased with it – nice and bright. And, as well as the hotshoe mount, it has a (albeit plastic) tripod thread in the bottom of its stand, so you can attach it to whatever support system you have (I use CCTV gimbals on marquee clips). Very handy for high-speed setup
– Paddy -
Hi Jon,
Thanks for your reply.
Here’s my workflow:
i) I get a pair of 1920×1080 slides to add to the start and end of a bunch of films with a fade and black.
ii) The bunch of films are a mixture of PAL, NTSC, and various other files of different codecs, sizes, aspect ratios, frame rates, letterboxed or not)
iii) I need to output 1080p TIF sequences (for DCP), DV-PAL (or MPEG2) for DVD production (anamorphic for the widescreen ones) and 640px wide h.264s (for web).What’s worked best for previous projects has been to
i) crop letterboxing off the movies in QT Pro
ii) create a before.mov and after.mov slide movie for all the different sizes of movie I’ve got
iii) Paste them onto the cropped movies in QT pro and export (deinterlacing if needed).This gives the best quality, but if (when!) someone spots they’ve made a mistake in the slides, I’ve got to pretty much start the process from scratch.
The thing about the 160×90 sequence: if I received a tiny 160x90px film (for the sake of argument), I’d want to add the 1920×1080 slide to that in a 160×90 sequence and export it at its native size, but also export it at 1920×1080, which I think should use the slide at its native resolution and just upscale the tiny movie – of course the movie would look awful, but at least the slide shouldn’t.
I hope that makes sense.
– Paddy -
[ARGH! I didn’t notice that lots of people had already answered this!]
Ignore me… ;-( -
I’d put the sequence settings to 1280×720 (same as the original movie). And I think a DV sequence will try to interlace it – you’ll need a progressive timeline at 1280×720, 50fps. And prores 422 makes sense (I think) for the preview codec since your transcoded footage is in that codec (so less conversion is needed).
I think the weird grey flicker might be to do with the MPEG i-frames preview you were using.
What are you using the final output for (ie web, DVD, archive, computer-presentation?). You might be able to stick to 50fps throughout?
Good luck
– Paddy -
Oooh YEESSS!!
I didn’t know about the shift-L combo!
I’ve been sitting there holding down the mouse button.
Next long talk I edit will be *much* easier.
Thanks
– Paddy