Best way to subtitle on Premiere?

I want to burn subtitles into video. Which is the best and fastest way to do this in Premiere?

vincethedrummer wrote:
Creating titles is how I do this:
http://tv.adobe.com/watch/learn-premiere-pro-cs6/creating-and-editing- titles/
Ok, but I was thinking about some other way, to import .srt files and similar...

Similar Messages

Best way to convert my Premiere sequence, to AE (other than using prproj obviously)

I made a thread earlier, but didn't find a solution. I tried to link some Premiere sequences with AE, with blank screens and errors as a result. (probably some components in the file I've gotten rid of, or a bug). I'll pay attention to it in the future.
I can link the programs together if I convert my prproj to another format. Is there a way I can do this without losing quality? (Preferably without creating a massive file either.) Will I lose quality if I use a render file for ex?
Thanks in advance

My Premiere sequence(s) doesn't let me link up with AE. Empty screens, on both sides as a result of using "dynamic link". (Importing project works, but I need live edit (Premiere screen directly affected by what I do with the files in AE)
I've worked around both programs and looked up online for answers with no real results. Now I'm trying to work around the system, to find a solution. Gathering the sequences and converting them into another file, will probably make AE accept the files live. I'm looking for the best way to do this.
That's what I'm trying to do here.

What is the best way to setup premiere sequence for export when mixing 24fps and 23.976fps for final

What is the best way to setup a premiere sequence for export when mixing 24fps (CG) and 23.976fps (live action) for final output at 23.976 (vimeo and such).
Right now my sequence is at 24fps, and when I export to 23.976, my dialogues seem to shift.
Should I set my sequence at 23.976fps instead of 24fps?
Thanks in advance for the help, and sincere apologies if this is a noob question.
David

That makes it easy. Remove the CGs from the project. Go to Edit>Preferences>Media... and set the Indeterminate Media Timebase to 23.976. Then when you import the image sequence, PP will assign it the correct frame rate.
Edit in a 23.976 sequence.

(workflow question) - What is the best way to handle audio in a large Premiere project?

Hey all,
This might probably be suitable for any version of Premiere, but just in case, I use CS4 (Master Collection)
I am wrestling in my brain about the best way to handle audio in my project to cut down on the time I am working on it.
This project I just finished was a 10 minute video for a customer shot on miniDV (HVX-200) cut down from 3 hours of tape.
I edited my whole project down to what looked good, and then I decided I needed to clean up all the Audio using Soundbooth, So I had to go in clip by clip, using the Edit in SoundBooth --> Render and Replace method on every clip. I couldn't find a way to batch edit any audio in Soundbooth.
For every clip, I performed similar actions---
1) both tracks of audio were recorded with 2 different microphones (2 mono tracks), so I needed only audio from 1 track - I used SB to cut and paste the good track over the other track.
2) amplified the audio
3) cleaned up the background noise with the noise filter
I am sure there has to be a better workflow option than what I just did (going clip by clip), Can someone give me some advice on how best to handle audio in a situation like this?
Should I have just rendered out new audio for the whole tape I was using, and then edit from that?
Should I have rendered out the audio after I edited the clips into one long track and performed the actions I needed on it? or something entirely different? It was a very slow, tedious process.
Thanks,
Aza

Hi, Aza.
Given that my background is audio and I'm just coming into the brave new world of visual bits and bytes, I would second Hunt's recommendation regarding exporting the entire video's audio as one wav file, working on it, and then reimporting. I do this as one of the last stages, when I know I have the editing done, with an ear towards consistency from beginning to end.
One of the benefits of this approach is that you can manage all audio in the same context. For example, if you want to normalize, compress or limit your audio, doing it a clip at a time will make it difficult for you to match levels consistently or find a compression setting that works smoothly across the board. It's likely that there will instead be subtle or obvious differences between each clip you worked on.
When all your audio is in one file you can, for instance, look at the entire wave form, see that limiting to -6 db would trim off most of the unnecessary peaks, triim it down, and then normalize it all. You may still have to do some tweaking here and there, but it gets you much farther down the road, much more easily.Same goes for reverb, EQ or other effects where you want the same feel throughout the entire video.
Hope this helps,
Chris

What is the best way to handle .mod files in premiere pro cs4?

I recently got a JVC Everio GZ-MG130u and as I'm sure many of you are aware, it saves footage in the .mod format.
I have googled this and found quite a few different solutions, but I'm just wondering if anything has changed since some of these solutions were posted, or in other words, what is the best way at this current point in time to handle .mod files in premiere pro cs4?
As far as I know, the best thing to do is convert the .mod to .avi and then import it into premiere so it can be edited.. Is there a better way to do it than this? Also, by doing it this way, will I have separate audio and video tracks?
Thanks.

I have just done a bit of reading, here. All of the quotes that follow are from users who have posted in that thread.
It seems that there isn't one solid answer on this subject. The thread that I linked to was started 2 years ago, and replied to just 4 ago, so it's relatively current.
I noticed a couple different interesting statements:
posted by mmontgomery:
In the case of .MOD, you are actually getting a MPEG-2 file. The way
video files work is that there is a codec (COmpressor/DECompressor)
algorithm and a file wrapper (or extension). A JVC .MOD file is a
MPEG-2 encoded file, with a .MOD extension.
You're faced with two
challenges, first the .MOD file type is only recognized and support by a
few applications. I think we covered some of those already. The
interesting thing about wrappers and extensions is that they can be
dealt with in a variety of ways. Sometimes all you need to do to convert
the video file to a compatible video file is to change the extension.
In the case of .MOD files that's not enough. The .MOD wrapper apparently
does a few more things than just bare a unique extension name. It
requires a slightly more complicated method to convert that file. That
is why there is supplied software and that certain third party
applications have .MOD support.
(posted 2 years ago)
This seems to indicate that Ann's solution of simply re-naming the extension is not good enough, unless I am mis-interpreting what she meant.
However, another user said:
posted by futball8:
I edit with Adobe Premiere Pro CS3. All I have to do is simply rename
the .MOD files as .MPG and then import into PP CS3. It takes a small
amount of time to conform the audio, but no file conversion is
necessary. It's a pretty slick workflow and I've never encountered any
problems editing them this way.
(posted 5 months ago)
One can only assume that simply re-naming the extension from .mod to .mpg works in some circumstances, and doesn't work in others. I assume it depends largely on the editing software being used. Perhaps there are still issues that futball8 was simply unaware of or never encountered.
That said, there seems to be a couple of different real solutions to this problem that I have found:
1. Simply use an editing program that supports .mod file format. While pe7 and pe8 supposedly support the .mod format, the following should be noted:
posted by macksgarage:
While Elements 'supports' these files, it is markedly unstable and frequently crashes while using the files, though the application is otherwise reliable. The solution I have arrived at is to repair the container using ffmpeg. (see #3)
(posted 5 months ago)
2. Use a file conversion utility of your choice that will covert .mod to .avi, or another desired format. Import the resulting .avi file into premiere pro cs4.
3. Use FFmpeg. This seems to be the best solution as it does not convert any audio or video:
posted by macksgarae:
If you are not familiar with ffmpeg, it may be a bit of a bear to
learn, but it's not only useful for this, but functions as a video swiss
army knife useful for splicing, muxing/demuxing, and rendering just
about any format into just about any other format.
ffmpeg is an open source project from the linux world, but it has
been ported and is supported on windows. Fetch it here and place it somewhere handy
on your system.
To rewrite the container into a nice, standards compliant .mpg file
that doesn't make applications die, WITHOUT rerendering video or audio
itself, I use this command.
ffmpeg -i INFILE.MOD -acodec copy - vcodec copy OUTFILE.mpg
This not only renames the file, but actually rebuilds the container
around unmodified video and audio data, yielding a file which works much
more stably with Adobe applications, and presumably others as well, as
ffmpeg's open source development goals result in very standards
compliant files.
(posted 5 months ago)
Now, this seems to properly address the issues that can arise from simply renaming .mod to .mpg, as suggested by Ann. So from this point, I assume you can simply import the .mpg into Premiere Pro cs4 (or any other .mpg compliant program) and edit without issue, but it seems like I remember hearing something about Premiere not liking mpegs or something like that, so in that case, maybe it'd be better to skip this and go with option #2. But, it's been awhile since I've touched any NLE, much less premiere pro cs4, so I could be completely wrong and it may have no problems handling mpegs.
All of the things that I've quoted here came from the same thread, so I don't know how accurate any of this is, but the people that have posted these things seem fairly knowledgeable. If someone reads all of this and can confirm or deny any of it, it would be much appreciated.
Option 1 is not really an option for me, because I am sticking with premiere pro cs4 -- I'm not going to get another editor just because it has .mod support. That leaves me with options 2 and 3: Convert to avi, or change the file wrapper/extension properly with FFmpeg and then simply import the resulting .mpg file... Which is better? Or is there yet another solution that I am unaware of that would be even better?

Best way to work with FCP files and Adobe Premiere

Hi,
I have a bit of a technical problem. I'm editing a doco for broadcast on TV and have shot on HDV and downloaded onto our system as PAL, Apple Pro Res 422, 25 fps. oowever, Our graphics editor is on Adobe Premiere CS4.
What is the best way to get it onto her system and back off again and onto ours, with the mimimum or no loss of quality?
I've heard that an XML might work, but will it work on Adobe CS4? I don't know how this will pan out if it's XML. Will we be able to open it all back up in FCP when she hands it back. What sort of file do we get back from the Adobe Prem Pro Cs4 system?
I'm a bit nervous about it all.
Hope you can help.
Cheers,
Margie

This got me curious Eagleray as I do this all the time within my Mac FCS to CS all the time. But to a PC got me a googlin. Hope this discussion _http://www.animotion.nl/en/tutorials/fcp-xml-premiere-pro-cs5/_ helps as quite a few students seem to have Macs at school and PCs at home. Also do be aware of the different formatting of some PC drives like FAT16, FAT32, NTFS vs the Mac GUID. The Mac can read them all with the proper system addons/drivers, they show up in System Preferences Preference Panes under "OTHER". I use NTFS-3G to mount NTFS PC drives. I think it was free, if not there is another one I used to use that is free from some open source NTFS group. FAT has the size limit issue of I think 2 or 4gb (you can't copy anything bigger than that at one time to a Mac from a FAT drive). I'm on Snow Leopard on my 8core. My partner who edits in PP CS3 on a PC brought over his Maxtor USB the other day for me to copy some video files from and it's been having problems mounting, I believe since I upped to SL. I threw it on my 6 year old PowerBook G4 running 10.5.8 and it mounted right away. Just another weird gotcha. But take a quick look, tho the title says CS5 in it, a few students were using CS4 on a PC.
Message was edited by: TimeKoder13
Message was edited by: TimeKoder13

What is the best way to EDIT a voice narration in Premiere Elements 11?

What is the best way to EDIT a voice narration in Premiere Elements 11 when words or paragraphs have to be repeated?

TomVideo4477
The rough description of Preview Window trimming..
a. double click clip in Project Assets to bring up Preview Window
b. move Timeline indicator to beginning of section, hit Set In; move Timeline indictor to end of section, hit Set Out.
c. next you can drag the segment from the Windows to the Timeline audio track and/or drag the segment from the Preview Window to Project Assets to become part of the project's media.
The following should give you some thoughts on the above.
http://www.atr935.blogspot.com/2013/06/pe11-project-assets-organization-for.html
Although more from a video trimming perspective, the principles apply to an audio clip as well.
Now "delete and close gap" can be interesting depending on what is around the area involved.
Please check out the details on that in the following.
http://www.atr935.blogspot.com/2014/02/pe-delete-and-close-gap-failures.html
Not sure I am clear on
The “delete and close gap” option in the edit menu does not work. Do I have to move the file to the Narration Track on the Timeline to do the actual trimming?
You should be able to trim the narration in the Preview Window opened by right clicking the narration clip in Project Assets and then drag the segment to an audio track or narration track or dragging the trim to Project Assets for source media.
Please check out the above and then let me know if you are OK with the information. If not, let me know where I need to clarify what I have written.
Thanks.
ATR

Best way to create attractive subtitles

I'm not talking about closed captioning, but rather, attractive burned in subtitles in Premiere. I need the ability to quickly change the style of all titles at once (e.g. font, color, size), so I think that rules out the title tool.
I followed one suggestion to create them in Photoshop, with each phrase its own layer. This way I might have 1000 or more layers. But when I import the PSD as layers to Premiere, they are arranged alphabetically, and I don't see any easy way to arrange them in the right order. If I import the PSD as a sequence, the titles are stacked in the right order, but I can't think of any way to move them all to one track in order. Any ideas?

Link to Steven's solution?
Jim, in Photoshop it's very easy, you just select all layers and change the font and color in the formatting bar. Then all the titles should refresh automatically in Premiere. I agree that we need a built-in tool though, and I've already submitted a feature request.
Ann, numbering the layers would work, but I think any time you change the text it resets the layer name. I wonder if it's possible to write a script that automatically prepends layer numbers to the layer names. Are layers even numbered in Photoshop?
No one has a solution to convert a stacked timeline like this to sequential clips?

Best way to warp stabilize between premiere cs6 and AE cs6

I have a sequence with many clips, some with different speed (warp stabilizer doesn't work with speed in premiere CS6) whats the best way to stabilize these videos that are in different speeds?
Another question, in CS 5.5 I used the warp stabilizer in 1080P clips on a 720p composition (with fit to composition) this way I warp stabilizer could zoom/crop the video without loosing quality. Now premiere CS6 has warp stabilizer but I can use a 720P sequence with a 1080p video, warp stabilizer won't accept it.So whats the best way to do this in premiere CS6? (to get 1080p video stabilized in 720p sequence) or I can just stabilize in 1080p and export the final video to 720p and I will have the same quality?
Thanks

You can make a new sequence from that 1080p file, stabilize it, nest it, then copy and paste it into your 720p project. This way you won't need to export it beforehand.
I notice this topic is old, but it may help someone.
Best,
Bogdan

What is the best way to import and edit a large amount of footage?

Hello Apple world,
As a newbie to Final Cut 10 I have a question regarding best ways to import footage. I'll give you a quick run down.
I have a 150 gig of gopro footage that I just hit 'import' to recently (from my external HD), it took around 10 hours to process it all.
Its all under one event, but then somewhat organised into dates etc. But it is very slow. I imported it all at once because it was all footage from the last 6 months of my Whistler/states/fiji trip and want to make a movie out of it, using clips from all over the time, not just in chronological order.
I have the latest mac book pro, 4 gig ram,2.4 GHz i7, 750 hard drive, with nothing else on the computer.
Ive read about creating proxy media, after ive imported, but am still somewhat confused as to the benefit. Does it create duplicates? that will fill up my pretty large HD as it is!
Can you suggest any ways that might make my laptop run a bit faster? Should i delete and work directly from external HD etc etc?
Any suggestions will be greatly appreciated!
Thanks in advance
Harlee

ascreenwriter wrote:
Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!
1. Follow the advice above. Also use the Media Browser to import the footage in case you have spanned media files. Import files with the Media Browser.
2. It largely depends on what you wish to ouput to: Blu-ray, web, etc. This FAQ gives the best answer: What are the best export settings?
3. Use the Replace with Adobe After Effects Composition function.

What is the best way to import and export footage from the 5D Mark II?

Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!

ascreenwriter wrote:
Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!
1. Follow the advice above. Also use the Media Browser to import the footage in case you have spanned media files. Import files with the Media Browser.
2. It largely depends on what you wish to ouput to: Blu-ray, web, etc. This FAQ gives the best answer: What are the best export settings?
3. Use the Replace with Adobe After Effects Composition function.

What is the best way to set up Facetime if using multiple computers with one apple ID?

I currently have FaceTime setup on my iPad 2 using my normal appleID, but have just recently upgraded our iMac from Leopard to Snow leopard, and have added FaceTime to that computer as well. So my question is this. If I want to avoid confusion with which device is called when someone calls us using FaceTime, what is the best way to distinguish the devices? Should I try to use a different email address to reach the iMac? Is there a best-known-method for this?

That's a nice system Kevin, and it will work very nicely with Photoshop. I do take it that you have 16Gb RAM in Total?
250Gb SSD is a good size, but you can still run short, and that will affect Windows performance. When you get your system, instal WinDirStat which gives you a graphic display of everything on your drive, like below. Clicking on any of the large areas will tell you what and where they are, so you can think about moving cache folders etc. to one of the HDDs.
Leave the Pagefile.sys on the boot drive. Think about disabling Hyphenate as it takes a ton of space, and too often crashes on wake up.
My Documents
Desktop
Downloads
Look at Bridge cache
iTunes backup
Other stuff like that.
Think about another 500Gb drive just for Photoshop Scratch. Drives are cheap as chips nowadays
Do yourself a favour, and invest $100 in Shadow Protect (or similar if there is such a thing) SP saves incremental backups every 15 minutes (you can set the interval, but it has no impact on performance with a system like yours). If you have a problem you can mount the back up at any of those 15 minute points, and open files from it. You can also make a bootable DVD image of your C drive, and be back up and running five minutes after disaster strikes.
Optimize Performance in Photoshop
Photoshop CC and CC 2014 GPU FAQ
For more ideas, swing by the Premiere Pro Hardware forum. Those guys are serious good at this stuff, and you'll find links tips and ideas.
Happy computing, and have fun with your Creative Cloud® apps.

What is the Best way to set up Photoshop on a new PC with multiple Hard drives and SSD?

Hi hope someone can help.
I am considering buying a new PC (see below). We want to run both Photoshop and Lightroom on the PC. We will also be using it as a Media centre – that’s why I have two big hard drives.
I would like to know the best way to install both Photoshop and Lightroom on the storage devices. As you can see I will have two 3TB hard drives and one 250G SSD card.
For Photoshop I have read that it can be advantages to have the program on one drive the photos on another drive and the “scratch file’ on a third drive. It was even suggested that the PCs Operating system could be on a different drive than the program. Is this correct and if
so what is best to go on the SSD card? I will be partitioning the Hard Drives and I could even partition the SSD drive if that could help. In this case what size partitions are recommended?
If you can see a component below that you think would be an issue with running Photoshop and Lightroom, could you also let me know what you would recommend?
CPU: Intel Core i7-4790 CPU. LGA1150
Motherboard: Gigabyte GA-Z97M Micro-ATX Motherboard LGA1150
RAM: TWO (2) x Kingston 8GB DDR3 1600Mhz Desktop Memory
HDD: TWO (2) x Seagate Barracuda 3TB 3.5" 7200RPM 64 MB Cache SATA 6.0Gb/s
SSD: Samsung 850 EVO 250GB Internal Solid State Drive (SSD)
Graphics card: Leadtek nVidia Quadro K2200 4GB Graphic Card
Optical drive: LG Blu-Ray Combo Drive. BH16NS40
Power supply unit: Cooler Master V750S ATX Power Supply 750W, 80Plus Gold Certified
Case: Cooler Master Centurion 6Mid Tower Case
Operating system: Microsoft Windows 8.1 Pro 64-bit
Wireless / WiFi: TP-Link TL-WDN4800 900Mbps Wireless-N Dual Band PCI-E Adapter
BTW I would have liked to email this to Adobe support but could not find an email address to send it to. I hope this way works.

That's a nice system Kevin, and it will work very nicely with Photoshop. I do take it that you have 16Gb RAM in Total?
250Gb SSD is a good size, but you can still run short, and that will affect Windows performance. When you get your system, instal WinDirStat which gives you a graphic display of everything on your drive, like below. Clicking on any of the large areas will tell you what and where they are, so you can think about moving cache folders etc. to one of the HDDs.
Leave the Pagefile.sys on the boot drive. Think about disabling Hyphenate as it takes a ton of space, and too often crashes on wake up.
My Documents
Desktop
Downloads
Look at Bridge cache
iTunes backup
Other stuff like that.
Think about another 500Gb drive just for Photoshop Scratch. Drives are cheap as chips nowadays
Do yourself a favour, and invest $100 in Shadow Protect (or similar if there is such a thing) SP saves incremental backups every 15 minutes (you can set the interval, but it has no impact on performance with a system like yours). If you have a problem you can mount the back up at any of those 15 minute points, and open files from it. You can also make a bootable DVD image of your C drive, and be back up and running five minutes after disaster strikes.
Optimize Performance in Photoshop
Photoshop CC and CC 2014 GPU FAQ
For more ideas, swing by the Premiere Pro Hardware forum. Those guys are serious good at this stuff, and you'll find links tips and ideas.
Happy computing, and have fun with your Creative Cloud® apps.

Best way to export from AVCHD to highest quality possible

Hello,
I just got the Canon HF200, a AVCHD Camcorder and new to Premiere Pro CS4.
Does anyone have the time and is willing to explain what would be the best way to export AVCHD source material after editing ?
I'm interested in the best quality you can get out of AVCHD.
It would be nice to have a list of the settings in Premiere to be customized (i.e. setting up new project, exporting format settings and so on) to have the best quality of the footage exported.
Thanks in advance
best regards
checop

Geezus the guy just wants a simple answer.
MASTER FILE / FOR YOUR BLU RAY PLAYER / ARCHIVAL
1) use the Bluray H.264 preset to get a Bluray master. Best quality, takes a while to encode though.
Unless it's a five hour movie I'm pretty sure it'll fit on a BD disc.
GENERAL RULE OF THUMB FOR ARCHIVAL AND MASTER FILES: try to match the final product with your source file.
If your source is H.264/AVCHD export in that format too (In this case, Bluray H264 preset)
If it's 1080i then export as such
If it's 24Mbps then use that bitrate to export as too. Etc. etc. etc.
Now that's for archiving - getting the best looking Master file. Uploading your movie to the web is different...
IF YOU'RE GOING TO SHOW YOUR MOVIE ON THE WEB
1) use that Bluray master (or encode directly from your CS 4 timeline if you have the time) to WMV.
Choose the NTSC setting and then customize it.
640 x 360 or 575 x 324 sizes are good; Make sure to use the SQUARE pixels option since the sizes here are figured for that. Keyframes every 2 seconds, or every 5 seconds if there's not a lot of movement and background business going on. In the 1000 - 1600 kbps range is good (larger dimensions = higher bitrate).
Audio 96/44 is fine.
Choose 2 Pass Variable Bitrate for best quality/size ratio.
If you're using CS4 it'll automatically deinterlace when you encode to WMV. In other programs you need to check "Deinterlace".
2) Flash (FLV) is popular too. Same sizes, you can get away with lower bitrates than WMV. Requires special players either on the web or on the users' desktop so only do this if you feature the movie on your site and you know how to make a SWF file with your FLV embedded.
Lost me here? Then just forget Flash for now.
Other Primer Notes (VERY GENERALIZED SPEAKING):
Forget MPEG 1. Bad quality/size ratio compared to WMV.
Use MPEG 2 for archival purposes, but use high bitrates (like 1920 x 1080 @ 24 Mbps or similar. )
Quicktime is good for archiving too but takes a long time to encode on PCs. Not worth it for web delivery anymore... although there will be Mac fanatics disagreeing with me right now.
Hope this helps
For more info hit me up http://www.kroycom.com

Best way to mix multiple camera angles from multiple performances?

There has to be a slick way to do this, but I can't seem to figure it out. I'm hoping someone can offer their advice on the best way to approach this project. (I'm using Premiere Pro CS4)
I have footage from 2 performances of a high school play that I want to mix together, with 2 cameras used each night:
Cam1: Friday Right
Cam2: Friday Center
Cam3: Saturday Wide Left
Cam4: Saturday Wide Right
I only had 2 cameras, but I wanted to capture 4 different angles that I could later mix and match. The problem is that, as live performances go, you can't count on exact timing from night to night. It's really simple to do multi-camera editing for one night with the Multicamera Monitor (painfully simple), which works great for the 2 angles that were filmed on the same performance, but if I try to do it with footage from different nights, it only takes about a minute for actions onstage to be so far off between the two nights that I can't switch between cameras with reasonable accuracy.
Since I will be going back and forth many times among 4 clips, the ideal solution that I have come up with (but I don't think Premiere can do) is to have the ability to set markers or keyframes at certain locations that basically say "switch to MM:SS on camera X now" without actually trimming clips and overlaying them into a single video track. So basically determining which camera is "Live". This would let me do rolling edits without having to create a new clip every time I want to switch to that camera angle.
I may be missing something very simple or over-analyzing something that really won't be that bad, but I'm having a hard time wrapping my mind around the best way to approach cutting back and forth among the same 4 unsynchronized camera angles numerous times. If nayone has a suggestion I'd love to hear it.
Thanks,
-keen

Time - being in sync...
Most performances like that shot ( for like a music video ) are done to recorded music ( lip sync and play to recorded music ) ..so timing stays the same to the music... dont know what kind of performance you shot but this gives you an idea how tough it is to keep timing for music performances.
---------you wrote -----
Since I will be going back and forth many times among 4 clips, the ideal solution that I have come up with (but I don't think Premiere can do) is to have the ability to set markers or keyframes at certain locations that basically say "switch to MM:SS on camera X now" without actually trimming clips and overlaying them into a single video track. So basically determining which camera is "Live". This would let me do rolling edits without having to create a new clip every time I want to switch to that camera angle.
If you can't just use one night as suggested earlier by Jim and Stan....I would say bite the bullet and just do what you dont want to do...
make subclips ( trim clips or whatever ) and forget about rolling edits...
You might want to consider putting stuff in 4 sequences... day 1, day 2, day 3, day 4...
make a 5th sequence called "rough cut " or something...
each time you take a "clip" from one of the 4 sequences move that clip up one video channel ( and copy / paste to your 5th sequence )..which then gives you a visual quick guide what you have USED from the sequences...so you dont waste time scrubbing through stuff you already put into sequence 5....
You may be able to choose just ONE sound track from one night and just use THAT...and pick shots that FIT those moments in time OK from all 4 sequences....you can play with duration / time of a small clip ( as it is unlinked to the sound in this scenario ) to make it FIT better...but that would be very subtle changes...
ps...I keep forgetting...some people use the camera to record sound instead of a sound mixer, recorder, etc...so if thats your case what I suggested at bottom of mssg probably would not work...using duration / time...unless its REALLY minor adjustment...hmmmm, maybe export just the sound from a single performance and try using that as your ONE sound file for the performance...I really dont know what you would do if you recorded sound with the cameras...as I would never do that I dont know what to suggest if thats the case...

Best way to subtitle on Premiere?

Similar Messages

Maybe you are looking for