Capture Canon S3 video (motion jpeg) with Premiere CS3

Premiere CS3 does not allow capturing motion jpeg clips. this is the type of video created with all Canon S3 and S5 still cameras. How is it possible to overcome this problem?

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Capture Canon Legria HF R26 footage with Adobe Premiere pro cs5

Hello,
I need to capture some footage from Capture Canon Legria HF R26 using Adobe Premiere pro cs5.
I have a usb cable with the camera. I would like ot know if captirng via usb is a good option or if there are other better options .
Cheers m

Premiere can not 'capture' footage from any source using a USB connection.
Capture from tape into Premiere requires a firewire connection (DV & HDV).
For your camera, you should use the USB connection to copy the media files
from the camera to your hard drive and then 'import' the footage into Premiere.

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What would you say the best way to convert Nokia N95 MP4 videos for use with Premiere Pro is?

Sheesh.
This "
How do I convert my files?" entry at the PPro Wiki might offer some insight.

How do I rotate a video 90 degrees with premiere elements 9?

I shot a birthday video of the neighbors 5 year old with my Canon T2i camera. Had to turn the camera on its side to get everything in the shot. I can view the video right side up in the canon software but can not make the change permanent so the neighbor can watch it on his computer. Can I rotate the video 90 degrees in premiere and make it permanent? If not, where do I go?
Thanks
Cliff
[email protected]

As Steve says, Rotation with Video, is not so straightforward.
If you oriented the camera on its side, to get more of the image, then I would recommend that after you Rotate the Video, that you Scale it to fit perfectly within the Frame Size. This will result in Pillar Boxing, with black bars on the sides, as with Video, you have a horizontal Aspect Ratio.
If this was just due to the mechanical need to mount the camera sideways, or due to an error, then one could Rotate, then just Scale Up and effective crop the top, or bottom, or both with the Project's Frame Size.
This is often done when taping actors for bluescreen work, but in that case, one is going to eliminate the bluescreen background anyway, and Key the material into a horizontal Video background, so the end result is different, than what you have.
Now, one artistic treatment would be to Rotate, and then use your footage as a PiP, inside of a larger image. Though it was written for doing this with stills in a Video, look at this ARTICLE for some ideas on how this might be used with your footage. The actual application of those techniques will ONLY be limited by your imagination. Hope that it gives you some good ideas.
Good luck,
Hunt

Mix Motion JPEG with DV

Several digital cameras will take video that uses the Apple OpenDML JPEG codec and is 30 fps. I want to mix such clips with NSTC DV, at 29.97 fps. Just dropping both types of clips into a 29.97 timeline doesn't work: FCP doesn't get the frame rate right for the JPEG video.
So I'd like to conform the JPEG video to 29.97 fps before importing it. For speed and to avoid recompression, this would be done by just dropping one frame out of every 1001. Is there a way to get FCP or Compressor or MPEG Streamclip or anything to do this? I am really tired of waiting around for unnecessary recompressions.
Or maybe there is a better way to mix these two kinds of clips?

Try transcoding the Motion JPEG material directly to DV NTSC in Compressor before you drop it in a sequence. You'll not have to render it then, but in any case, you'll have to recompress it to DV when you put it in directly... that is a recompression you can't get around in any event.
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I am trying to make some changes to a DV format file, and output as the same DV format. When the video is brought into Premiere, it looks crisp in the left-hand video box. But, when playing it on the right window and when encoding it, it comes out as a mess with substantial compression artifacts.
What confuses me is, I have experimented with a lot of codecs--even uncompressed AVI. There is no change in the video resolution--source is 720x480, as is output. I am keeping all the pixel aspect ratios the same as the source footage.
What is creating this distortion? I have no scaling of the video whatsoever in the sequence...
Is there some compression box I'm not seeing here?
I've attached a screenshot of a still from the video. As you can see, substantial artifacting around the lettering, making the text unreadable.

Some suggestions and answer at least the 16 questions at the end of the Wiki article.

Hilights Clipping Problem with Premiere CS3 Media Encoder

I've just discovered a pretty serious problem with the way Premiere CS3 processes video to the Media Encoder.
Many of you are familiar with the term "super whites", the ability of modern cameras to capture and record levels above 100 IRE. With HDV and newer technology, recording to 109 IRE is quite common.
I was aware for some time that importing this footage into Premiere results in a hard truncation of whites above 100 IRE. However, I discovered last month that the Fast Color Corrector has a Output Levels adjustment that can rescale all the levels to fit down in the 0-100 IRE range. I verified this using the scopes in Premiere and by observing recovered details in my footage. I was even able to export frames to TIFF files and show the recovered highlights in the exported TIFFs. The difference is substantial and not subtle--it's the difference between a sky completely blown to white and one where you can see the sky is blue with clouds in it.
Last night, I discovered that the Unsharp Mask filter doesn't handle footage above 100 IRE, either. Even if I use Levels to set 0-235 RGB range, somehow, Unsharp Mask is processing the un-level-adjusted signal, regardless of stacking order of the filters.
I rendered two Blu-ray discs, one with Unsharp and the other without. To my astonishment, BOTH discs lacked any detail in the highlights--the whites were clipped at 100 IRE!
Now I turned attention to the Media Encoder. Pausing on a frame where I can see the difference between 100 IRE and 109 IRE and shades in between, I fire up the Media Encoder and note that even in ME's previews screens, the whites are already clipped. There is more highlight detail in the program monitor, whereas it's all gone in the Media Encoder's display.
It is obvious that highlight information, even scaled back to 0-235, is being treated as if it were 0-255 and clipped at 235 before passing to the encoder. This is a real disappointment, because there is another half f-stop of detail up there that I was trying to pull into the useable range of 100 IRE for the Blu-ray disc. Since it is very difficult to shoot footage and limit the peak whites in-camera to no more than 100 IRE, nearly all of us are losing valuable picture information.
Even if you can recover the highlights on the timeline through a Levels filter, it gets thrown away again on the way to the Media Encoder. Short of exporting a few hundred thousand frames as .TGA files and then loading those back in and rendering out to whatever motion CODEC, I am at a loss as to how to get Premiere to leave the whites intact.
I haven't seen this issue discussed in any detail here. Has anyone found a way around it, besides reshooting all your footage of one-time events to sub 100 IRE levels?

I'd rather the camera added that extra lattitide within the appropriate 0 to 100 IRE range.
That's a lot like saying you want 10 gallons of water in an 9-gallon jug.
As it is, it looks like such adjustments will need to be done on a clip by clip basis.
Or, you can do it the "Dan" way in AviSynth. I wrote a script function called SoftLimiter: It applies photoshop-style curves on the Y + U + V channels to bring the maximums within legal range… using a sort-of "soft-knee" approach to reducing extreme highlights and/or oversaturated areas.
It causes a tiny bit of posterization in the highlights, just like all 8-bit per channel color adjustments do… but it is hardly noticeable on a computer screen and even less on TVs.
SoftLimiter for AviSynth 2.5
Create a folder C:\SoftLimiterCurves\ and place the .amp curves files in that folder.
Place the other files in your AviSynth 2.5 / plugins folder.
The example below assumes DV avi files and requires a DV codec (such as Cecocida DV, MainConcept, Canopus) that can read / write in YUV formats.
Create a script like this:
AviSource("dv.avi", pixel_type="YUY2")
SoftLimiter()
Open the script in VirtualDub, use Video / Fast Recompress, Select Cedocida DV codec. File / Save as .avi
Before:
After:
And, Jim… you can place your dv2film() command at the end of this script if that's what you're trying to accomplish.

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I just finished an AVCHD video project in Premiere 8 and I can't fast forward or rewind the file on my computer with Windows Media Player or in Windows Media Center. The file plays nicelly but it's annoying watch it from start to finish for 45 minutes.
I have a Vixia HF S20 - the video format of the original files was ACHD. After finishing editing the project I choose to save it on my PC (a Dell Inspiron 8100 with I5 - so lots of power awailable) as a MPEG file. I noticed that this format was the only one that gave me the option to save the video in H.264 1920x1080i 30 preset.
The rendering of the video took some 3 hours. It saved the video in AVCHD format and at playback, on my computer screen, it looks just as it should - HD quality - but the lack of controls it's really, really stupid!
Anyway, I need help to figure out what is happening here. Did I do something wrong? Are there other saving settings/presets to choose from that retain the HD quality I am not aware of? Thanks a million in advance!

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Besides the two that I mentioned, GOM Player gets high marks, as well.
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Initial benchmark results with AMD cards show they are about two times slower than equally priced nVidia cards.
From: Tweakers Page - What video card to use?
To say that one solution is 2X faster across the board on comparably spec'ed cards would be incorrect.
Based on ...???
AMD and Intel cards used with the perpetual license are at least 10 x slower than nVidia cards when hardware MPE is turned on.

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Does anyone have any experience editing 7d 1080p/24 video files in CS5 with a laptop with a quad core CPU (either i7-Q* or the older quad cores) and/or GPU acceleration? I'm curious if the CPU can handle the load especially with multiple overlayed video tracks with varying opacity.
Please include the following in your reply:
# video tracks overlayed
playback resolution: half, quarter, full
CPU
GPU acceleration (if any)
Hard drive
Thanks!
My experience is this... On the sequence below, even at 1/4 resolution playback, the preview stutters to the point of being useless when there are three video tracks overlayed.
# video tracks overlayed: 3
Playback resolution: quarter
CPU: duo core 3.06gHz
GPU acceleration: none
HD: blazingly fast ssd

+1
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I heard that the deck needed a firmware update to be compatible, so I sent it off and had it updated, but it still doesn't work. All the other DV decks I have around work fine with the Premiere system, just not the DVCPro deck.
Any help in configuration would be appreciated!!!

The only think I can think of is the Playback settings are set for computer sound, not External Device. But that would affect all attached decks, not just one.

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Right now, I am doing a project for my history class where I have to use a green-screen and chroma keying to create an "embedded" WWII new report, as if I'm live with the action. The problem is, whenever I import my video files, Premiere does not find any audio. Im using a Sony High Definition Handycam® Camcorder HDR-CX12, with MPEG2 encoding. I've tried importing the same clips to Pinnacle, and they work fine. Being a bit new to Premiere, is it default to take off the audio if you already have audio (theme music) on one track, or do I have to move the music so the program can have a Track 1 for all videos?

My guess would be that because the camera records Audio in DD 5.1 SS, you will need to copy the AC3 .dll file from Encore (I would have assumed that it would be available, since CS3 comes with Encore) to PrP. I have the exact .dll [ad2mcac3dec.dll] listed for PrP CS2, but the name is slightly different in CS3. There are many threads, with the exact and correct name listed. It should be an easy process to copy the file from Encore to PrP (as it was in CS2) and you *should* then get your Audio. I'd also assume that Pinnacle installs with a similar .dll to handle the DD 5.1 SS Audio.
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Hunt

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Unfortunately I have no idea. I tried renaming them (thinking maybe the file name was doing something)...it still crashed. I then tried converting the images to another JPEG and then to a PNG, but still the same. None of the other images do it though, and I can duplicate the crash with these images every time.

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It run OK but refused activation (the Adobe Support told me this is due to CS3 uncompatibility with Windows 7).
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http://www.adobe.com/support/contact/cscleanertool.html
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Any ideas?

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Capture Canon S3 video (motion jpeg) with Premiere CS3

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