Wil Renczes
Forum Replies Created
-
Perry has it right – the only way to globally resize your project from head to tail is to nest it into a new sequence, and apply motion settings to the nested sequence clip.
Alternatively, if you export via Adobe Media Encoder, it has crop settings; I haven’t checked recently, but perhaps it might allow you to shrink down the source while preserving a 720*480 output.
-
Hi-8 camera using DV transport?
Premiere will allow you to relink to completely different AVIs (case in point: if you open the existing project and the original media isn’t there, you’ll be prompted with a dialog reading ‘Where is clip xxx?’, to which you can point it to anything you want). However, if you want your edits to line up correctly as before, you definitely need to recapture from your source with frame accuracy. If you did manual captures without device control, you’re in for a rough ride. But if your camera’s a Hi-8 camera that supports DV transport, you should be fine.
-
In/Outpoints do work on sequences. In fact, they’re functionally equivalent to in/outpoints on clips, because a sequence is basically a clip itself.
Case in point: Create Sequence A. Drop in something like a Universal Counting leader clip so that you have something obvious in terms of footage cues. Now drag Sequence A into your source window, and set an in & outpoint for it. If you then drag Sequence A from the source window into a new Sequence B, you’ll see that the clip representing sequence A is indeed trimmed as per your sequence points.
I think what’s tripping you up is that you’re probably marking your in/outpoints on the timeline. However, in/outpoints in the TIMELINE are not the same as in/outpoints in the SOURCE window. When you set in/outpoints on the timeline, they’re generally used for setting up reference points when doing 3/4 point insert/overlay operations; in the source window OTOH, they are used for trimming the start & end of actual media.
Does that help at all?
-
It has something to do with clip speed applied on something in your timeline. Do you have a clip where you’ve done a time stretch to some huge number?
-
– Are you using Premiere standalone with a default DV preset, or in combination with a 3rd party card (Matrox, Canopus, etc)? Or are you using a custom project preset with a different codec, perhaps?
– what transition(s) cause the green band?
For the DVD encoding issue, have you tried exporting out to an ISO file instead of burning directly to disk? From the ISO file, you should then be able to burn the contents with a variety of different DVD burning apps.
-
If you’re using custom software & if it doesn’t allow you to specify rendering out to anything other than a PAR of 1.0, then you’ll want to render out at 720 * 540, and then scale the images back to 720 * 480 prior to importing into Premiere. (Point being you definitely want to import NTSC-sized images into Premiere for maximum efficiency.)
-
Shot in the dark, but maybe the amount of head & tail space on the clips has changed between project versions.
Try the following: open the Capture interface, and in the ‘Logging’ pane to the right, try and set the ‘Handles’ amount to 30 frames – that should create 1 second of extra footage at the head & tail of a clip. Then recapture one of your clips & see if that fixes the issue.
-
Nope. It only stamps the TC of the first frame of video into the AVI.
-
Your thoughts were on the right mark – once upon a time, you’d have to create a 720 * 540 image in your image editor so that the PAR would look good, make your graphics, then rescale them to 720 * 480, save, & import into Premiere (or what not).
That, happily, is in the past. Two things:
1) in Photoshop (don’t remember which version that this showed up in), you have presets when creating new documents. There’s one for NTSC (0.9 aspect ratio).
2) if you used the preset above, importing the resulting file into Premiere should automatically set it to a 0.9 PAR (you can see this in the project window’s header info when selecting the imported PSD file). If it isn’t, you can still adjust it manually if necessary by right-clicking the file & selecting ‘Interpret Footage’. The subsequent dialog has a dropdown that allows you to override the PAR to conform to 1.0, widescreen, etc.
-
I’m not sure that what Troy’s describing is the same problem as what you’re experiencing. Can you confirm that the black flash is specifically the first frame of every cut where a clip has a Sapphire filter applied?
The bug Troy describes is a general failure that occurred mostly in 1.5 when a system would run out of memory – however, the difference would be that the green/black frame could potentially pop up anywhere in a rendered section, NOT consistently at the first frame of a new rendered timeline segment…
I personally suspect the filter – have you seen the same problem anywhere where the filter isn’t present?