[Tim Kolb]

How are you feeding the external monitor?

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Premiere Pro’s main difference from Avid will be the potential to use the mouse much more should you want to.

PPro is designed to be extremely keyboard-intensive if you want to learn the key functions and edit in an “Avid” kind of way…most seem to eventually settle on a mix…

Pinnacle’s interface would be more of a departure from what you’re used to from my perspective, but sitting down with a demo would probably be the best way to determine that for yourself…

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Do you see this on the video overlay on your computer monitor…or an external video monitor?

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

[jodal] “I see. Maybe you were referring to prerender the main sequence where the nested comps are placed because that seems to get the job done”

Yes, that’s what was meant. In order for PPro to show you a waveform, there has to be an audio file somewhere to compute it from. A nested sequence has the potential to have many audio tracks mixed together and computing what the “composite” audio waveform might look like from the mix (as opposed to simply mapping the sound from one clip)would typically just take too much computing power.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

[colourblind] “”I’m still pondering some of your issues. I’ve not seen the behaviors you’re describing myself and I need to ask around a bit…”

Well many thanks. Anyway. Getting to the bottom of this would be an interesting / useful thing for everyone I guess.”

So far I’m not getting much promising info on this…but I haven’t forgotten.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

[colourblind] “Just to avoid “giving the software a bad name”, perhaps one admin could rename this thread. Give it a more peaceful name as… Premiere Issues or… Premiere Issues & HD. Premiere & his friends or something. :D”

Interesting point…it’s probably not going to be a big deal. There have been threads with worse titles…

I’m still pondering some of your issues. I’ve not seen the behaviors you’re describing myself and I need to ask around a bit…

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

I answered your email offline.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

PPro will create “conformed” working audio files once the clip is brought into the project. The files will be 32 bit at the sampling rate of the project. Your twelve bit audio will be converted and if it’s synced on your source tape, it should be synced in PPro.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Today I was getting something done fast and haven’t had a chance to figure out what an optimized workflow would be…I just downloaded Aspect 3.2 and installed it today as well.

Anyway, I go to File>Export>Movie and click “Settings” in the dialogue, then set up the clip as a 16:9 DV clip (codec, frame size, pixel aspect, etc.)

Then I needed a 4:3 file with the video letterboxed for a different purpose and I imported the widescreen DV clip into a 4:3 DV project and I exported it as letterbox (MPEG in this case).

Is that what you’re looking for?

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

This is a Premiere Pro problem.

It happens with any 16:9 footage…even DV. I have to matte a letterbox on 16:9 footage and output 4:3 letterbox as a 4:3 file.

TimK,

Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net