[Richard Angle]

Ahhh!!! Thanks so much, Doug. I think that explains it! Must be an AVCHD issue. I shoot AVCHD on both the Panasonic AF100 and the GH2 and they both have the same issue with the missing date created data field. I just assumed the error was on the side of Premiere Pro. Thanks for chiming in, man.

This is a bit frustrating, however. So am I to accept that there is simply no way to sort my hundreds of documentary clips by the date and time in which they were shot? This is my primary sorting order. Oh boy. What to do now? And it doesn’t help that literally several dozen of my files are all called 0000. mts. And another 3 dozen named 0001.mts. etc…. GOOD GRIEF!

Pardon me folks, but these types of minor buggy limitations with this software is simply astounding to me. I am currently building a bug report longer than the wall of China on this Premiere Pro package. The new FCP alternative? Yes. There is no other logical choice to me. The toolmaker that FCP used to be? Unfortunately, no. Perhaps Premiere Pro 7 will fill in the blanks. But maybe FCP11 will do the same? 😉

Thanks all,
Richard Angle

Richard Angle

[Richard Angle]

Hi Jeff. No dice, man. I unchecked the import XMP and all unfortunately remains the same. Please allow me to further clarify exactly what I am doing here as far as workflow. Perhaps I am doing something wrong.

I import my entire AVCHD folder structure from the root folder into Premiere cs6 via the Media Browser. I navigate to the project panel and click on the imported root folder. All of my .mts file are shown in list mode. I right on one of the headers and choose metadata. I place a check mark next to the “Date Created” and hit ok. Look at the “date created” row for all mts clips and they are all blank. Come to think of it, I’m not so sure if any metadata is coming over into premiere from my files. I get fields like in points outpoints, duration, date modified etc… But I’m not seeing any of the information that relates to the shoot itself. Any help is appreciated as I am truly stumped. I really need to be able to sort my bins by the original camera shooting date and time.

Thanks all.

[Richard Angle]

I have “Date Created” selected as one of my columns. The “Date Created” data fields for all clips in my bin are blank. This is my question. I would like to be able to sort my bin footage in the order in which it was shot. The AF100 camera recording date/time info should be embedded within the metadata, correct? There simply is no metadata info in the “Date Created” fields.

[Richard Angle]

Hi Tim. Thanks for your help with this. I did some further tests rendering six different codecs at different frame sizes and data rates. All of them rendered perfectly with “Use Max Render” deselected while every render with “Use Max Render” selected clipped the dissolve. I think I agree with you that it must be a hardware triggered issue. It’s just strange that it only happens on rendered material. Since it is rendered material, wouldn’t this rule out any weirdness from the video card? The past posts I read on the issue were all in regard to CUDA. I am just using the HP 3000 onboard video card on my system for the time being.

Please allow me to make one final correction in regard to my description of what is specifically happening. The exported file does not clip out of the dissolve early as I had previously thought. Rather, the dissolve continues through to the tail end of the dissolve and sort of freezes the luminosity for the last 3 or 4 frames of the dissolve. It does just the opposite at the onset of each dissolve. It’s difficult to put into words but that’s the best I can describe it.

If anybody could see if their exports might be behaving in the same manner, then maybe we could figure out what’s going on here. “Use Max Render” is however definitely affecting or being affected by something. Just don’t know what yet. I’d certainly rather be rendering at the highest quality possible, even if it does dramatically increase render times. But I can’t sacrifice my dissolves. Thanks all…

[Richard Angle]

My apologies all. Please allow me to rephrase the picture explanations from my original posting a few min ago.

The first still frame is of the exported test file. The second picture on the bottom is its corresponding frame grab directly from the timeline. The still frame was chosen as the first frame following the abrupt 100% transparency on the exported test file. This point is a good three or four frames before the dissolve on the timeline truly ends.

In motion, it causes a very abrupt incoming and outgoing clip on each and every dissolve.

Please see pics in original post and disregard last paragraph.

Thanks,
Richard Angle

[Richard Angle]

Thanks for the response Tim. I am still a bit unsure of what exactly the “use max render” setting does. I think read that it could help in scaling 1080 to 720 and I do this quite often. I shoot some projects in 1080p and keyframe zoom and pan animation into the unoperated “wide shot” before scaling down to a final 720 p output for web use. Seemed to me that the Max Render setting would benefit me but I have yet to do any real tests.

This is a very real issue and I find it unusual that more people aren’t posting about it. I find a few posts all the way back to Sept of 2011 on the subject (CS5.5) but that is about it. The whole Creative Cow thread was re-posted on Adobe’s site where people were saying that it is not a bug. I’m sorry, but I truly believe it is indeed a bug, and a pretty serious one at that.

I ran a few further tests last night. The dissolve clips happen not only on “Match Sequence Settings” export but also on H.264 renders. The culprit is the “Use Max Render” setting. If it doesn’t work correctly, then I’m of the opinion that Adobe address the issue as soon as possible.

On a tech note, this whole issue reminds me an awfully lot of that little luminance shift issue that FCP had back in the days between versions 1.0 and 1.1. Any of you guys remember the text FCP shift of death back around the turn of the century?

I have two jpeg still dissolve frames that I’d like to share to illustrate the issue. The first below is a frame grab directly from my timeline while the second is the corresponding frame from the export of a sequence with “Match Sequence settings” and “Use Max Render” both enabled. The chosen still frame is the last frame before it jumps to 100% transparency on the exported file. Which is a good three or four frames before the timeline video reaches 100% transparency. This is my first time trying to post pics. My apologies if the links don’t show up.

Thanks everybody and please see the two stills below.

[Richard Angle]

I’ve been looking into the h4n 4-track capabilities but am still a bit concerned about the lack of true line level input. However, I think that with the use of the proper attenuators, this might be a moot point. I’d like to use the mini stereo plug on the back of the h4n to plug in an old stereo BeachTek adapter/mixer for two separate audio tracks. Independent levels could be controlled through the Beachtek level controls. My concern is whether or not I’d be able to take four independent mono line feeds out of a rock show’s mixer board and go distortion free into the h4n. I think it is possible with the right cables (balanced vs unbalanced and using 1/4″ phono in place of xlr for the XLR two inputs on the unit. I don’t know still looking into it.

So I’d imagine that you’re pretty happy with your R44 over a premix any and everyday, huh? It just seems to be a no-brainer to take the option of the post mix if you can. Even if the best sound guy on the planet is there, it still makes sense to me to do it. Why not keep them separate if you have the option? In addition, your initial unanswered question of possible quality loss is what grabbed my attention in the first place. And I still have no idea the answer to that question.

Thanks for the response and happy shootin’.

Richard Angle

[Richard Angle]

I’m not so sure that the initial question in this post was ever clearly answered. And it was a very good question. What are the pros and cons in choosing to keep the tracks separated at the recording? Mix it live if you have the man power? Or perhaps go with the luxury and accuracy of mixing it all down in post with possible loss in recording quality. I am not an audio guy at all, but am currently researching the options original discussed in this older post. I too see enormous benefit in avoiding a premix. I would like to resurrect this original posting and see what you all think two years later. Anybody?

[Richard Angle]

I believe that I have taken care of the overheating issue. There was a “tpu” switch on my ASUS motherboard that was enabled that I had to disable. I believe it has something to do with overclocking or something. There is still unfortunately quite a bit of lag.

I believe I will take your advice and try a second internal drive. One final question remains though. On the same system, I have run Vegas Pro 8 in the past with no playback lag issues at all. Same footage, same system, same everything. JKL playback was very responsive and worked as expected in Vegas. Why would it be giving me such problems in Premiere?

Thanks.

[Richard Angle]

Hi Kevin. I copy the entire 1080p AVCHD folder structure to my internal start-up drive. Should I make it a point to partition or add a separate internal or external scratch disk? I remember in my old FCP days, this was an issue but I guess I didn’t realize that it still was. The only things plugged into the PC are my wired keyboard, a usb hub with a single transmitter to my cordless Logitech mouse, and an external SD card reader for the SD transfer. Plus the typical stuff cat 5 ethernet,audio out etc… On another note, could an overheating cpu be a possible cause for this? I’ve noticed during a couple of longer renders a temp overheating warning of 76-78%. Thanks for your time.