[Tim Kolb]

[Chris Tompkins] “The HMC-150 does NOT shoot P2, has nothing to do with P2.”

Sorry…only glanced at the camera…quickly responded under the assumption they had P2 as SDHC cards are easy to unload directly…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Tom Daigon] “LOL! Tim, I dont think I can explain it any better then I did in my post, which does a pretty detailed breakdown of what is where. With pictures even :D”

🙂 You didn’t say what sort of a clip the matte was…since it had an alpha channel, there is a smaller set of options, but still, it could be a number of filetypes…and you didn’t mention what sort of file the video was either…

I’m tryin’ to repro your bug here man! 🙂

(…but once you make the matte key with the source on V1 and the matte on V2, what is “outside” the matte if there isn’t anything below it? Is it just empty black?)

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Can you guys fill in some more detail on what you’re doing?

I can’t seem to create a problem on my system.

Is there a particular type of document you’re using for a matte? Any particular effect that you’re using with the key?

I can even make the matte on two-key source on track one situation that Tom was referring to work…though since you usually key over something else, I can’t visualize the purpose of doing that.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Would Premiere Pro “preview” render it?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

You forced the video clip to the right framerate with “modify”?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

So…the cable is USB with a mini at the camera end, yes?

The camera may have drivers that are necessary…but Panasonic consumer AVCHD cams always show up for me without anything additional.

Are you having trouble seeing the camera attached at all, or you see the camera and can’t access the P2 data?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Yes, Magic Bullet Looks is a complex effect to render and it will affect your export time…(make sure your MB Looks is up-to-date BTW).

You’re starting with HDV MPEG2 and exporting to MPEG4…if you select “Match Sequence Settings” in the export dialog, it should at least cut down a bit on the export time as at least you can reduce the compression complexity if not the effects rendering time.

You don’t mention what sort of display card you have…CUDA would help somewhat, but MB Looks itself is OpenGL accelerated I believe (like Colorista), so a strong display card should at least make the process as efficient as it can be…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Sam Goldstein] “Thanks for the response. I have these issues using OpenCL. Current version of CUDA for Mac does support the 650M without any hacks.”

Well…you don’t have OpenCL problems with Premiere Pro and that card…GPU acceleration on NVIDIA cards is based on CUDA. The only cards that CS6 will use for OpenCL are two MacBook Pro AMD cards…

While you can load NVIDIA CUDA drivers for that card…it doesn’t have the minimum RAM requirement for PPro…I’m not sure how it would allow you to use CUDA GPU acceleration without at least changing the text file…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Hi Jeff,

If there is no place in your entire project where you would need to do any pan and scan or different scaling on a given shot, then just running with “scale to framesize” on for everything used as full frame would not likely make much difference…or at least it probably wouldn’t be practically visible.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Wendell…

This is exactly what I’m saying…it’s at least partially how you’re thinking about this…

How your camera audio is brought into the project isn’t controlled by the audio track designations. There is a preference to control how 2 track camera audio is interpreted…and if there is an occasion where you’d like a particular clip to be interpreted differently, you can modify it in the project panel.

If you used standard tracks instead of mono tracks, the mono audio from your camera will work fine…and if your music bed is stereo, that will work on one standard track as well. FCP only had mono tracks so a stereo clip straddled two tracks and stayed ‘linked’…since Premiere Pro has much more flexible track structure, you just use stereo as stereo.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor