Repeated Delays when Alt-Tabbing Back to Premiere Pro CS4

I'm experiencing a lengthy delay every time I switch away from Premiere Pro CS4 to another app and then switch back. Every time I Alt-tab back I get the hourglass cursor for 35 sec. Then, it goes through a generating peak file phase for each of the clips in the project. This goes more quickly, maybe 5-15 sec. But it does this EVERY SINGLE TIME I return to PP from another app.
This is on a newly built Windows XP 64 system based on the brand new Core i7 940 with 12 GB of RAM and four 500 GB+ hard disks. I've set the two media caches to each be on different disks. The system disk is a third disk and the project is on the fourth disk. There's no way this system should be slow with this material. The project is a lynda.com beginner's tutorial; we're talking half a dozen 15-second sequences.
How can I stop PP from going through this lengthy delay each and every time I switch back to it?
David Salahi

>brand new Core i7 940

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Thank you Ann. But the problem is when switched on the AE clips on the timeline are only viewable when I start the project (ie press the space bar) and as it also doesn’t appear in Encore I am afraid to spend a great deal of time creating a DVD with these clips not appearing. Any advice?
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Hi everyone,
I'm trying to open a Premiere Pro CS4 file (*.prproj) but the bar that appears sating 'Opening file' (or similar) gets stopped before finishing to load the file.
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function(){return A.apply(null,[this].concat($A(arguments)))}
enrage222 wrote:
which question? the 9 dots?
Go directly to http://premierepro.wikia.com/wiki/Troubleshooting
Read and follow all instructions for troubleshooting
Report back with the answers to the questions at the end of that link

PPBM is Back--Benchmarking Premiere Pro CS4.1

Well after a long absence PPBM is back and is appropriately called PPBM4. If you are not familiar with my previous Adobe Premiere Pro BenchMarking I have finally developed a new hardware benchmark specific to the current version of Premiere Pro. As a matter of fact I do not advise using it on anything other than CS4 version 4.1.
With this benchmark you can evaluate how well your hardware performs when actually using Premiere and as I get more feedback of results from forum users like you I will publish the results. With that data you should be able to see how well your system is tuned, what hardware will improve your performance and/or help to specify a new system.
There are three basic tests:
I measure how long it takes to render the timeline with my "standardized" project.
I measure how long the project takes to encode MPEG2-DVD
I measure how long the project takes to encode to Microsoft DV AVI.
Unfortunately it will not run on a Mac with the native OS.
Even if you do not want to benchmark you should go out to this site to see how far Harm Millaard's super overclocked i7-920 system outperforms my previous generation dual Xeon 5400 series system. Also, I have data on my system with identical hardware running on XP Pro 32, Vista 64 and Win 7 64 (RC).

If you are using a single fast RAID array then my tests show that all the files (project, media, scratch) should be on the RAID array, putting any one on a slower separate drive slows the benchmark. I have all my project files on a 500 MB/s average read rate Array, if I put the Preview Files or the Output on even a ~200 MB/s RAID array you get slower performance.
If you prefer not to use RAID, then using the forum recommended three drives, Take your choice (actually both are essentially the same)::
"One drive for OS/programs, one for media and one for pagefile/scratch/renders".
"One for OS & Programs One for Projects/Scratch One for Media."
Then if you have faster and slower drives depends on what you want to speedup. My opinion is use your fastest single drive drive for the OS/Applications. If you Render the Timeline and intend to use the Preview Files for encoding you may want to put them on another fast disk. The when you are trying to optimize encoding from AME this is a CPU intensive operation and a slightly slower Output Files disk probably will work perfectly adequate. I would guess that Media files (my benchmark does not have media files by design) would also benefit from fast disk access.
Skeeze, when you say "rendering" are referring to encoding/transcoding as done in AME or are you referring to Rendering the Timeline as in hitting "Enter".
I am absolutely amazed at the Michael's W5580 disk intensive AVI encoding results with only two SAS drives, since it is also a brand new system I suspect that they are Seagate 15K.7 drives with sustained read transfer rates from 204 to 122 MB/sec. This one drive is equivalent to a pair of Seagate 7200.12 rpm drives in RAID 0!
I would appreciate comments on my opinions above.

When i open a adobe premiere pro cs4 file using cs5 i came out this

this project contained a sequence that cannot be opened. no sequence preview preset file or codec could be associated with this sequence type.

function(){return A.apply(null,[this].concat($A(arguments)))}
enrage222 wrote:
which question? the 9 dots?
Go directly to http://premierepro.wikia.com/wiki/Troubleshooting
Read and follow all instructions for troubleshooting
Report back with the answers to the questions at the end of that link

QTFC Issues with Premiere Pro CS4?

Hello there.
So recently, I have been having issues with my adobe programs. I have the Master Collection CS4 and when I launch programs like After Effects, it tells me the following.
"QuickTime functions will be disabled because a compatible version of QuickTime could not be found"
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"Adobe Premiere Pro.exe - Entry Point Not Found
The procedure entry point QTCF_CFUniCharGetUnicodePropertyDataForPlane could not be located in the dynamic library link QTCF.dll"
I click OK and it pops up again, then premiere launches. How do I get rid of this error? I have tried reinstalling Master Collection and Quicktime but that didn't help.
I cannot afford to reformat computer as I'm very busy and need my programs to work.
Thankyou for your time and support.
-Matthew.

To answer your question. I had the same problem that you had. I was using Quicktime 7. So I downgraded by downloading Quicktime 6.4
Here's a link:
http://docs.info.apple.com/article.html?artnum=120297
So I installed QT 6.4, and the error message is no longer there. But there is another issue, I try to import or find a file that is a .mov and it says File format not supported. Which is weird because you get that if you don't have quicktime installed. That may be an entirely different problem. But hope this at least helps you answer your question.
UDP&R Staff
http://udpr.bluangelnet.com

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I recently got a GoPro HD Hero camera, and i've been shooting in 720 and 60i, the files that come off of the camera are in .mp4 format, and when i import them into premiere pro cs4 i can hear the sound but all i see is a solid green screen, can anyone shed some light on this problem?

I cant even get it to import to CS4
On both my desktop and laptop.
It crashes and just hangs.
I tried CS3 but it would not even try to import saying not a suported format.
im updating to the new 4.2.1 to see if that works.
my compter is a few years old and it doesnt like HD.
I can play HDV.
Even just playing yours in my media player it is having a hard time keeping up.
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Hi
I'm trying to edit a video that I got from my DSLR. It's in .AVI format.
When I import it to Premiere Pro CS4 and tried to play it. I can only hear the audio but the video doesn't play.
I already tried installing K-Lite Codec Pack but still the same.
I used Gspot and it says Codecs are installed.
Hope someone can help me out.

Having a CODEC installed is no guarantee that an NLE program can use it to edit. This ARTICLE goes into more detail.
As John T. points out, two very popular versions of the MJPEG CODEC are the Morgan, or the MainConcept, but your DSLR might have come with exactly what you need - but you might need to look on the included DVD for it. Camera mfgrs. often tweak their particular CODEC's, and especially with the MJPEG CODEC. That should be included, but it might be a separate installation, it might install with the camera's driver, or it might install with editing/organizing software. See this ARTICLE for a bit more detail.
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Thank you for that info. I actually just reinstalled the program only to have another error occur. Apparently that when you install Premier, you must also install a bunch of other perhipheral software including After Effects Third Party Content. There was an error with that but Premiere worked fine, but After Effects wouldn't start. Then I checked for updates and everything seems to be working fine. Not even sure if that Third Party Content is working because my laptop is not powerful enough to run After Effects effectively anyways. But thanks again for your response. I will defenitely keep that in mind if I ever have any more problems.

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Help, I have raw footage shot in HD
V 720p 24fps. I am on a PC with Windows XP Pro. When I play the clips on windows media player, they are fine. When I import them into Premiere Pro CS4 they have horizontal razor like flickering across the screen, especially during motion or fast moving scenes. I have Matrox Axio LE as well. I built an editing computer just for video editing and this is very annoying. I am new to Premiere Pro and am wondering what I am doing wrong. Help.

JVC GY-HD200UB ProHD-- I've read that is a nice camera
what does the footage do when you import into 720 30p sequence?
Are you 100% that it wasn't recorded in the 720 25p? what about 720 60p?
I wish I could be of more help but never used this camera before
So please check your camera settings again and make absolutely sure that it was recorded 720 24p.
After some additional readings I found out that your camera can record to an S^%* load of formats-
Anyone else here with this camera that can provide more hands on experience for JM?
Check all your camera settings again just to be sure JM
Good Luck
I'll post if I can find anything else- i've read some people with fcp have had trouble editing this footage as well- go to bh's product page for your camera and read the reviews- that's where I read about a similar issue with fcp

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Hi,
I'm trying to edit some AVCHD (full HD 1920x1080p) but the playback in Premiere PRO CS4 is really really slow. The quality is set to Draft and even resizing the window to 25% keeps it slow.
So I decided to give it a try upgrading my computer. But... what should I upgrade to improve playback and edit my videos smoothly?
I have this PC specifications
- DualCore AMD Athlon 64X2 6000+ (3.0 GHz)
- 2 GB RAM DDR2-800 (Kingston)
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Any recommendations would be appreciated.
Thanks

I need to admint that I made a huge mistake when I got the HD camera in my hands and I started shooting and watching it on a HDTV and it was nicely recorded. But oh surprise!, when I tried to watch it and edit it on my computer it was a nightmare.
Yes, that was what I was alluding to earlier on. It seems to be a good format, but requires an investment in gear to smoothly edit it. I almost feel that there should be a warning label on all cameras, that use it. At least it IS editable, unlike some other formats.
what a nice I/O sub-system article there, thanks for that
I agree, and that is why I try to tell Harm "thank you," whenever I can. He actually did three along the same lines. This was #1, IIRC, with a more generalized followup on the hardware beyond the I/O, and #3 was his setup details for 64-bit OS. All three are well worth reading. He put a lot of time, thought and effort into those. First thing that I did was publish links to each on several Video production fora.
Good luck, and please let us know how your new rig handles the AVCHD material. Before you get too far into things, Harm's other two articles might be of use too.
Hunt

Sync when compressing HD FLV and F4V in Premiere Pro CS4

Hi. I'm trying to create PSAs for You Tube that were originally created with a small camera that produced HD Quicktime files. For YouTube they don't have to be perfect but that is what I'm working with. My computer only has 4gb of ram so I can't watch the video to test for syncronization since it just gives a slide show while editing. It never does anything but a slide show with HD video.
When I watch the original unedited Quicktime file the sync was way off. When I render out the original file in an FLV and F4V format just to test the sync it is PERFECT. Then I edited the first video taken from that session and used FLV and the sync was PERFECT. So I'm doing the second video, tested sync on the original footage, and its PERFECT.
So I thought it was okay to keep going. Everything was perfect after Premiere rendered the raw footage. The first video worked, right? The second video's raw footage sync was fixed, right?
Now that I spent all the time to edit the 2nd video, sync is TERRIBLE. I have no idea why. F4V was worse than FLV, but neither was great for video 2. So I guess I have two questions:
1) What format can I use to upload to YouTube that won't give me an unusable sync problem
2) Is there something I can do to see continuous synchronization within Premiere Pro CS4 without updating my hardware? I am using Vista 64 bit, 4gb ram, dual core intel. Do I have to make a major hardware upgrade just to get HD video not to be a slide show while running Premiere?
Thanks!

Dave,
Deleted all stuff...
You might try this "TEST" at some point if you're using equipment to record sound as outlined in the following article....at any rate you might find the article interesting anyway for the future...
----------------------sorry I should give credit to who wrote it but you can google the first line and find it maybe -----------
sync demuxed sound The Problem -
Miniature audio recorders, be they minidisc or solid state, offer a very attractive, cost effective, alternative to the traditional use of radio microphones, for the capture of remote audio sources in video recordings
These machines record the audio in a variety of different formats - MP3, WMA, WAV, ATRAC -- and in a variety of qualities - but they all suffer from the same problem. It can be difficult to synchronise the remotely recorded audio, with the camera recorded audio.
Although the time honoured tradition of an audio 'clapper board' works well enough to align the beginning of the two soundtracks, there is a tendency for the two tracks to appear to 'drift' out of sync over time - and the longer the recording, the worse the problem. In fact they do not actually 'drift', but the gradual loss of sync is a function of the camera and audio recorder sample clocks being slightly different frequencies.
The simple reason for this loss of 'sync' therefore is that the audio is being recorded at different speeds. Although the recorder will specify the sampling frequency, the accuracy is then dependent on the internal crystal oscillator of the recorder - which is, of course, a different oscillator from the one controlling the camera timing. Although these crystals may typically be accurate to within 0.005% or better, even this degree of accuracy can cause the two recorded audio tracks to be out of sync by up to 300mS after 30 minutes. Even after 5 minutes, the 2 tracks can be some 60mS different in length, in a worst case scenario.
60mS difference will cause a distinctly audible 'echo' between the two audio tracks. (Even 20mS is detectable as a separate echo).
This difference is of course totally unacceptable, and corrections need to be applied. It is important to remember that even if your audio recorder crystal is absolutely accurate, and it is the camera clock that is slightly wrong, it is still the remote audio track that will have to be corrected. The 'wrong' camera audio track is the one in sync with the video, and has to be the 'master' track.
The Solution
It is important to realise that although the sample oscillators may vary with regard to each other, they tend to be remarkably accurate over time, referenced to themselves.
This means that if you know by how much the frequency your audio recorder sample 'clock' differs from the camera 'clock', then a single correction factor will bring both tracks back into sync.
A simple procedure is outlined below, using free programs, to enable you to calculate the correction factor required for your particular recorder.
Programs required (all free):
1) AoA audio Extractor --- (not necessary if you can extract the audio track from a video recording in your NLE)
2) Audacity , a free audio editor
3) Switch , a free audio file type converter
Step 1: Set up your camera and audio recorder next to each other, and start both running
Step 2: Make a good audio 'clapperboard' point by tapping a pencil firmly onto a hard surface, as close to both camera and recorder mics as possible. This will cause a fast 'edge' to become the reference point, which will be useful later.
Step3: Let both devices run for at least 10 minutes. 20 minutes are better, but not essential.
At the end of the period, (timing not critical), make a second similar 'clapperboard' reference point. Allow a few more seconds recording, and then stop both devices.
Step 4: Download the video from the camera, and the audio from the recorder to your computer.
Step 5: Open the video file in 'AoA audio Extractor', and extract the audio from the video. Convert this audio file (if necessary) to a 48KHz 16 bit LPCM (wav) file, using the 'Switch' program linked to above. This file will be your reference audio file.
Step 6: Open the WAV file saved in the previous step in 'Audacity' - a free audio editor.
It is now necessary to save only the part of the file between the two 'clapperboard' references, which hopefully stand out clearly (if you hit the pencil hard enough in steps 2 and 3!).
This must be done accurately, to within 100th of a second, or better.
Click and drag the file to highlight the beginning section, including the first 'clapperboard' waveform. Use the 'fit selection to window' tool (immediately to the right of the 'zoom' tools) to magnify. Delete as much as possible before the 'clapper' reference. Repeat the operation until you can clearly identify the first distinct waveform of the 'clapper' reference waveform. Click, hold and place the cursor directly over the first full (clipped) waveform, where it crosses the centre line. Delete every thing to the left of that point, by clicking and dragging to highlight, and then deleting with the scissors tool.
Step 7: Repeat the above procedure for the end part of the waveform, again using the start of the second 'clapper' waveform as your reference cutting point. In this case, cut everything to the right of your selected reference point (not the left, as in the first case.)
Step 8: It is necessary to record the exact length of this new cropped waveform. This information is listed at the bottom of the window, but in a rather inappropriate format. Locate the toolbar at the top of the window, click 'Edit'-'select all' and then 'Effects'-'change tempo' . Note the length of the file in seconds in the right hand box (the left hand box is greyed out).
Record this figure. It is the reference file length
Step 9: It is necessary to convert the file recorded on the audio recorder into an identical format to the camera audio track, namely 48 KHz 16 bit PCM. If the track is not already in this format, open it in Switch, a free file transfer program, and select the output encoding as 48 KHz 16 bit, mono or stereo to fit your audio file. This program will then convert whatever format your input file is (MP3, WMA, 44.1 KHz PCM, etc) into the required 48 KHz, 16 bit format required.
Step 10: Repeat the procedures in steps 6 and 7 for this new file. Edit the 'clapper' points with as much accuracy as before, but notice that the 'clapper' waveform will appear different from the first, although hopefully with as clearly defined first ' zero crossing' point.
Step 11: Repeat the procedure in step 8, and you will notice that the overall file length is different.
Overwrite the original file length into the right hand box, and take careful note of the resulting figure in the percent change box. Make sure you record whether it is a plus or minus value - it could be either! This is the most important figure, because it represents the percentage variation between the two units.
Once you have obtained this value, simply apply it to all files recorded with the same recorder and this camera. Providing you can align the start of the file with a single 'clapperboard' mark, there is no need to repeat the rest. Simply change the length of the external audio file by the correct percentage value, to allow the two audio tracks to remain synchronised.
It may seem a long winded process, but it only needs to be done once, and could then save quite a lot of time, against the option of trying to align tracks manually in your NLE, in small sections.
You may of course wish to use an alternative audio editor, and the details of this procedure may then be slightly different, but the principle remains the same.

Steps to send a clip to AE to utilize Warp Stabilizer VFX then back to Premiere Pro CC

So I use Warp Stabilizer for about 200 clips per project. It's effectiveness has shaped how I shoot. It's awesome. Now there's VFX in AE...Can someone layout the steps involved in the following:
a) Taking a clip from Premiere Pro CC and sending it to After Effects CC (I'm not that versed in using AE having not used it in quite a while)
b) Then how to apply the new Warp Stabilizer VFX (I assume just go to effects>distort>WarpStabilizerVFX ???) ... (if there are tutorials on how exactly to use it, especially detailing exactly how to utilize the new feature of isolating what in the frame is to be stabilized that would be great too)
c) Then how to send it back to Premiere Pro CC. (I'm guessing I just save it and let dynamic link take care of the rest?)
I've tried right-clicking on a clip and selecting "replace with AE composition" (is that what I should do?), then applying the effect but I get a "warp stabilizer VFX analysis doesn't work with Collapse Transformations" message so I stopped. If it makes any difference, the majority of my footage is shot at 60p and then interpreted and edited at 23.976fps. Thanks!
NOTE TO STAFF: I've said it before and I'll say it again as someone who uses warp stabilizer several hundred times per week, I still think the default "method" in the settings should be "Position, Scale, Rotation" instead of Subspace Warp because it works FAR better (less wobble and less scaling about 90% of the time). Can't help myself I had to bring that up again here.

a) Select a clip in PrPro timeline, right-click and choose 'Replace With After Effects Composition'. Take care of handles if you might need them (that's rather general tip).
Warning about Collapse Transformation switch indicates that you have 'Scale to Frame Size' option enabled for your clips in PrPro timeline. If that was done intentionally, you can simply toggle the Collapse Transformation switch (small sun icon) off. If not, rather disable 'Scale to Frame Size' for your clips in PrPro timeline.
b) Quite a boring but covering almost all necessary details tutorial on basic work with Warp Stabilizer in AE CC from Adobe TV:
Some advanced techniques from Lynda.com
and Mathias Möhl:
c) When you're happy with your work in AE and going to lock it, render a digital intermediate out of AE, import it into PrPro and replace your dynamically linked composition in the timeline with that DI (see this good old thread on Dynamic Link workflow, pay attention to Todd's comments).
If you leave the 'Include Project Link' checkbox in the Output Module Settings dialog enabled while rendering your DI, you can easily get back to appropriate AE project so as to maybe tweak some settings: just select your DI in PrPro timeline, right-click and choose 'Edit Original'.
Mind the bloating issue, keep the amount of applied Warp Stabilizer instances in a single AE project reasonable.

No sound when I export to encore from Premiere Pro CS4

I have created two separate video project in Premiere Pro CS4, when I export via dynamic link to Encore one exports with both video and audio, the second only exports video and no audion. However, when i look at the properties of the asset the Media Category indicates video & audio. Any suggestions?

Lots more information needed for anyone to help... starting with your source video and going on to your project settings
Read Bill Hunt on a file type as WRAPPER http://forums.adobe.com/thread/440037
What is a CODEC... a Primer http://forums.adobe.com/thread/546811
What CODEC is INSIDE that file? http://forums.adobe.com/thread/440037
Report back with the codec details of your file, use the programs below... a screen shot works well to SHOW people what you are doing
For PC http://www.headbands.com/gspot/ or http://mediainfo.sourceforge.net/en
For Mac http://mediainspector.massanti.com/
http://blogs.adobe.com/premiereprotraining/2011/02/red-yellow-and-green-render-bars.html
If you have a red line over the timeline after importing a video and before adding any effects... your project is wrong for your video... read above about codecs
Once you know exactly what it is you are editing, report back with that information... and your project setting, and if there is a red line above the video in the timeline, which indicates a mismatch between video and project
H.264 will NOT work inside an AVI wrapper http://forums.adobe.com/thread/854115
More information needed for someone to help... click these links and provided the requested information
-http://forums.adobe.com/message/4200840
-http://forums.adobe.com/thread/416679

Error message when I try to buy Premiere Pro CC

Error message when I try to buy Premiere Pro CC: "PMT_000011 : adbehbr, pt_BR, There is money to authorize, But no Aurthorize delegated were applicable, 8870440059" after I confirmed the 4th step. I was never asked for credit card information. What do I do? I have tried both Chrome and Safari on Mac OS X 10.9.4.

use: http://helpx.adobe.com/x-productkb/global/service-ccm.html

Repeated Delays when Alt-Tabbing Back to Premiere Pro CS4

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