CS4 AVC-Intra - HELP?

I just upgraded to CS4 from CS3 so I could edit in AVC-Intra from my new P2 HPX300.
Shot in AVC-Intra 50, 1080 - 30PN.
When I put clips on the timeline they need rendering and seem to skip frames??
Shouldnt I be able to play clips in real time without rendering?
Is there something with the native "PN" that is srewing this up? But the camera only allows Native recording at 30p.
Any Advise?
Thanks,
Mark

I use "CS4 Premiere 4.2.1", so is there any solution on this in CS4 or is CS5 better to handle AVC-Intra????
Regards
Mikael

Similar Messages

  • AVC-Intra help, please:-)

    Please Help me.
    I have big problems with AVC-Intra 100, when I select sequence AVC-Intra 720p 25p inside CS4 Premiere 4.2.1 and drag some clip onto the timeline it becomes red and all 4 sound tracks are completely empty of sound without any peak drew up. Then out of nowhere without any reason, some of it appears, some of the sound and then completely disappear again (randomly).
    The video is also not playing without stuttering and without all frames intact (25frames/sec) more like 12frames/sec???
    All this is the same when I try to render out a master, stuttering video and no sound.
    When I look at the same files inside my HPX301 the files are playing just fine with perfect sound so it’s not the recorded files that are wrong.
    System mode: 720-50p.
    Rec Format: AVC-I 100 /25pn.
    This computer is flying with big, big complex projects of 10 bits Cineform files so it’s not the computer that can’t handle it (this is with CS3 Premiere 3.2 on another disk thougt).
    Now is CS5 better to handle the AVC-Intra codec then CS4?
    My computer setup:
    Processor: Intel i7920.
    Motherboard: Asus P6T Deluxe V2.
    Ram: Corsair 12GB 1600MHz.
    C drive: Intel SSD G2 80GB with Windows Vista64 Ultimate.
    Raid Card: Adaptec 3085.
    Raid Disk: 4 x 1000GB in a raid 5 for video with Adaptec.
    Graphic card: ATI/AMD 5870
    Best Regards
    Mikael

    I use "CS4 Premiere 4.2.1", so is there any solution on this in CS4 or is CS5 better to handle AVC-Intra????
    Regards
    Mikael

  • Does CS4 support AVC-Intra.   Smoke and mirrors on the Adobe site

    Just wondering if CS4 does support P2 AVC-Intra format? On the supported codec Adobe page it's no...
    Quote: Panasonic P2 import with browsing and metadata support
    Enjoy support for native editing of content from Panasonic P2 cameras in DVCPRO, DVCPRO HD, and across multiple P2 cards.
    http://www.adobe.com/uk/products/premiere/supportedformats.html
    but on the Google cached site it says yes...
    Quote Panasonic P2 import with browsing and metadata support
    Enjoy support for native editing of content from Panasonic P2 cameras in DVCPRO, DVCPRO HD, and AVC-Intra formats, and across multiple P2 cards.
    http://209.85.173.104/search?q=cache:HEb3cZ9XKwQJ:www.adobe.com/uk/products/premiere/suppo rtedformats.html+premiere+pro+cs4+avc-intra&hl=en&ct=clnk&cd=1&gl=au
    What gives?
    Peter

    I too am VERY interested in this support.  We shoot quite a bit in AVC-Intra 100 and I was counting the days until the 4.1 update because from what I understood from NAB that codec would be supported in the update.
    Adobe gurus...any update or timeframe?? As this is an important part of our workflow I would appreciate any feedback possible.

  • Does CS4 support AVC-Intra?

    Does CS4 support AVC-Intra? I'm interested in purchasing the Panasonic HPX300 but an old article said Premiere CS4 does not support AVC-Intra but would soon. I have CS4 Master Suite.
    Thanks
    Art

    I too am VERY interested in this support.  We shoot quite a bit in AVC-Intra 100 and I was counting the days until the 4.1 update because from what I understood from NAB that codec would be supported in the update.
    Adobe gurus...any update or timeframe?? As this is an important part of our workflow I would appreciate any feedback possible.

  • HELP!  AVC Intra 100

    I received a hard drive with some Quicktimes that are in AVC-Intra 100 format.
    So I went to the Panasonic site and downloaded the decoder.
    But in QT player I only get audio, and in FCP Log and transfer I get "unsupported media or invalid directory structure"
    I am running FCP 6.0.6, OSX 10.4.11, Intel 8 Core
    From what I gather I have 2 choices:
    -Bring the drive to a fully up to date suite, using FCP7 and convert all the clips to ProRes
    -Get the P2 cards copied with their file structure intact to a drive, then do a Log and Transfer
    Is there any other way I can deal with the videos?
    Thanks

    You need to "get the P2 cards copied with their file structure intact to a drive, then do a Log and Transfer."
    If I recall correctly, the native AVCINTRA100 QT players only work within FCP, and cannot be played separately.
    Not certain but that's what I thought.

  • Premier 4.1 Update and AVC-Intra codec

    I am very interested in when Adobe is going to release support for Panasonic's professional codec, AVC-Intra 100.  We love Premier but use the AVC-Intra codec now almost exclusively (along with RED).  We understood from NAB that Premier was working natively with AVC-Intra codec and that it was likely going to be included in the big 4.1 update.
    Any news Adobe gurus?  This would be a huge help to many studios.
    Cheers.

    Let me start by saying that I don't have any more info then most on this site, but I disagree with you, Eddie.
    If I had to bet, I'd say we see AVC-Intra in another update before the years out. I think we're a long way from CS5 (maybe NAB 2010 timeframe?), and for the presets to be there now tells me that they are working on it...they were showing it at NAB so they can't be that far off.
    CS3 had quite a few updates, and CS4 has only had 2 so far. I think it's within the realm of possibility that we could see another update or two...hopefully one that fixes the program monitor freeze issue.
    And as for Adobe announcing patches, they very rarely seem to do that - it seems like we hear about them no to long before they come out.
    Again, you could be completely right. Who knows. But I tend to think it'll be soon...but not soon enough for many of us waiting for it.

  • AVC-Intra 100 performance in CS5?

    How well does Premiere CS5 work with AVC-Intra 100 Pal 25p compare to Premiere CS4.2.1?
    I have a hard time to make CS4 to work well with AVC-Intra, no sound and then sound, stuttering video playback and poor performance over all?
    My system is running fine with all other type of format including big Cineform project (CS3 thought for Cineform).
    My system
    i7 920.
    Intel SSD G2 80GB system disk with Vista 64 Ultimate.
    12GB of ram.
    4 x 1000GB in a raid 5 with an Adaptec 3085 raid card.
    ATI 5870
    Regards
    Mikael

    Now is CS5 better to handle the AVC-Intra codec then CS4? Please Help me.
    I have big problems with AVC-Intra 100, when I select sequence AVC-Intra 720p 25p inside CS4 Premiere 4.2.1 and drag some clip onto the timeline it becomes red and all 4 sound tracks are completely empty of sound without any peak drew up. Then out of nowhere without any reason, some of it appears, some of the sound and then completely disappear again (randomly).
    The video is also not playing without stuttering and without all frames intact (25frames/sec) more like 12frames/sec???
    All this is the same when I try to render out a master, stuttering video and no sound.
    When I look at the same files inside my HPX301 the files are playing just fine with perfect sound so it’s not the recorded files that are wrong.
    System mode: 720-50p.
    Rec Format: AVC-I 100 /25pn.
    This computer is flying with big, big complex projects of 10 bits Cineform files so it’s not the computer that can’t handle it (this is with CS3 Premiere 3.2 on another disk thougt).
    My computer setup:
    Processor: Intel i7920.
    Motherboard: Asus P6T Deluxe V2.
    Ram: Corsair 12GB 1600MHz.
    C drive: Intel SSD G2 80GB with Windows Vista64 Ultimate.
    Raid Card: Adaptec 3085.
    Raid Disk: 4 x 1000GB in a raid 5 for video with Adaptec.
    Graphic card: ATI/AMD 5870
    Best Regards
    Mikael

  • Green Screen using AVC-Intra 100 ugly

    Been using the hpx300 for approx two months mostly in 720p with great results. Just wraped our first true HD green screen shoot using avc-intra 100 at 24p with the intent of producing a white background mac-ad type, 5 min talking head corporate piece in SD. I had the camera mounted at 90 degrees to capture the 1920 pixels of subjects head-to-toe so I could then manipulate individual zoom and placement in post within a SD timeline. I've got two issues: one is that the images in post seem noisy, and any movement, as in subjects walking across screen, is a total mess - I say seem because all recording and playback on location looked just fine on a 1920x1200 monitor via blackmagic i/o box. I normally do basic editing in premiere with much help from AE for composting and color correction etc. Keylight has always worked great in the past. I must have something wrong with settings in the avc-intra HD content? Secondly, workflow is a bit convoluted... Keylight doesn’t apply in premiere, and AE doesnt do avc-intra. The workaround is to export avc-intra premiere timeline to AE and key that.  In theory it should work just fine, but again my images are just noisy. Could this PR to AE workflow degrade image quality?  Any suggestion greatly appreciated! Thanks, Matt

    Poster must be busy shooting more stuff....
    Found some info on that " hollywood camera " site.....
    IS HD REALLY HD- GREENSCREEN ISSUES
    These plates were all shot with an HVX-200, mostly with the 100 MBps DVCPROHD codec. This was good enough for us for Visual Effects For Directors because we had specific needs, but we don't consider them good enough for full film production.
    Here's why:
    COLOR SAMPLING: We      prefer all green screen to be 4:4:4, so every pixel has a unique color.      4:2:2 only updates the color every second pixel, but green screen      desperately depends on a sharp, accurate, scientific color transition.      With 4:2:2, you're operating in half resolution. But if you downsize, like      we downsized to 720x480, you're at full resolution again. So because we're      delivering in SD, the plates are 4:4:4 for us. They'll just be 4:2:2 for      you if you're delivering for an HD movie.
    PIXEL ASPECT: When      a camera is listed as 1920x1080 HD, that's really stretching the truth.      You'll see that all our plates are in 1280x1080, which is the original      camera resolution, meaning that the plate has to be stretched 150% on the      X-axis to be in the right aspect. In other words, you're only operating at      66% resolution on the X-axis. Did someone say "smearing"?
    NOT EVEN 4:2:2: By      the time 1280 has been stretched to 1920 to make up for the 1.5:1 pixel      aspect ratio, 4:2:2 has been stretched out too, basically becoming      4:1.5:1.5
    LENS RESOLUTION: Nobody      besides DPs really thinks about the fact that a lens has a resolution.      Zoom lenses are made of many lens elements in a clever configuration, and      each element introduces some blur. That's why top-notch DPs like to use      prime-lenses cut from diamonds from King Solomon's mines, because if the      lens limits the resolution, it doesn't really matter how well you record      the signal after that. Some people have come to the conclusion that the      HVX-200 is really a 720p camera, because the 1080p resolution doesn't      really come through. We tend to agree, but we don't want to start a      religious war, and will say that it's just our personal experience. On top      of that, we've used a $500 wide-angle adapter on some shots, which really      butchers the pixel resolution, so even though we're recording at 1080p,      we're really not. But 1080p allowed us to record with the 100 MBps      DVCPROHD codec, which meant that we still got a very respectable resized      SD signal out of it.
    BAYER PATTERN: Most      cameras use a Bayer pattern on the chip, so that every pixel is EITHER      Red, Green, or Blue — but not at the same time. A full Red-Green-Blue      pixel is derived mathematically by interpolation. It's no wonder that some      organisations are starting to call for an objective standard for what      really constitutes a pixel, because a Bayer pixel is definitely not a real      pixel — more like half a pixel. By the way, there are twice as many Green      pixels than Red or Blue in a Bayer sensor, so you're far better off using      green screen than blue screen on video.
    HALO: Even      with the internal sharpness generator completely disabled, the HVX-200 has      a clear black fringe several pixels wide on the right side of actors on      green screen. Panasonic vehemently denies it, but it's very easy to see.      In this      picture, notice that white areas get a fringe, but darker areas, like      her legs or hair, don't. Panasonic's explanation has been that it's just a      shadow from the lighting (huh?), but the halo is on the KEY side — so the      only plausible explanation is a quantum singularity localized to the actor      which bends light as it passes by her body. We think it comes from the      Bayer pattern, but we're not sure. And Panasonic shouldn't feel bad. A Nikon      D80 does it too.
    HEAVY COMPRESSION: Even      though it seems like a lot that we're recording at 100 MBps in the      DVCPROHD codec, if you calculate the bit-rate per true output-pixel, we're      actually still compressing at a whopping 15:1.
    NOISE: Video      cameras in this price range tend to have rather high noise, and on top of      that, they're usually 8 bits per color channel. This can result in some      highly visible shadow noise that almost pixellates when the brightness is      just on the edge of a bit-threshold. You can see some of our plates doing      this.
    An HVX-200 and all its brothers and sisters in its price range simply don't have the horsepower for full pixel, high dynamic range, high resolution, uncompressed production that you need to do truly professional green screen. Green screen is ultimately a scientific process, and is one of the most demanding things you can do with your camera. Regular live-action images are MUCH easier for your camera to handle, so for regular filmmaking, your camera is fine, don't feel bad.
    We have nothing against the HVX-200 or its brothers or sisters — come on, we shot a whole DVD set about visual effects on it — but it's important to really understand what the limitations are. It's fine to own your own camera for regular filming. For green screen, you should consider renting the very best you can afford — and make every decision right, which is where we come in.
    Thanks for reading!
    Rod

  • Premiere Pro still can't import AVC-Intra

    After months of contacting Adobe's non-existant customer support, Premiere Pro CS4 still won't import AVC-Intra footage without giving an error message.  Adobe's customer support has NEVER called me back, even though a call was promised within 24 hours every time.  I have installed the update which is supposed to import AVC-Intra, but it gives the error message.

    try re-naming your footage with a .mov extension.
    see if that works.
    not really a fix but it might work.
    ENjoy:  GLenn

  • Try to ingest Panasonic HPX 250 AVC INTRA 100 wich ends AME crash

    Hi!
    I just bough new camera Panasonic HPX250 and now I try to ingest the footage with Prelude.
    Every time after Media Encoder loads the source and tryed to start encoding it ends to crash (look image)
    I have tryed also to uninstall  whole CC package and Cleaned with CC Cleaner tool and actually done it twice. Original footage is on 1080i50 and I just try to transcode it to single MXF clip with same parameters cos in P2 card the one over 60 minutes clip is cutted in multiple clips. My goal is get that in one peace to Premiere.
    Please help me!
    Greetings
    Sami

    Hi -
    QE reports this might be related to a known issue with smart rendering for your selected transcoding preset. Please try turning smart rendering OFF in AME. To do this, open AME and find the preset you are using: It should be under MXF OP1a->AVC-Intra. Right click on the preset you use and select "Preset Settings...". Within the Preset Settings dialog that will appear, select the VIDEO tab and scroll down until you see the check box "Enable Smart Rendering codec". Uncheck that.
    Since you changed the default state of the preset, you can now save this as a CUSTOM preset. Give it a name at the top of the Preset Settings dialog (in the "Preset Name:" field).  Then click the SAVE A COPY button at the bottom of the dialog.  This preset you just created will now appear in Prelude.
    Let us know how this works for you. We are looking into the bug and hope to have it resolved in our upcoming release.
    Regards,
    Michael

  • Motion Renders GREEN!  1080p 24p AVC Intra Blues??

    I shot a commercial using a Panasonic HPX 3000 with the AVC INTRA codec at 1080p 24p. I sent it from FCP to Motion, tweaked it, then round tripped back to FCP, rendered and the entire image is GREEN. Please help. Deadline looming.

    hi,
    welcome to the posts.
    Have you tried exporting out of motion, either through compressor or as a direct export and importing that clip into fcp. If you have a deadline then this might help you meet it. I had a motion project yesterday that fcp could not render without crashing. Dont think compressor liked it either, had to export from motion as an uncompressed 10 bit and fcp was happy. Think it had something to do with the four emitters I had running, shouldnt be a problem really though.
    hth
    adam

  • Does Premiere suport the Panasonic AVC-Intra codec?

    I'm thinking about renting a HPX-2000 or the new Varicam 2700 because I want to play with 10bit 4:2:2 native files for an upcoming music video with lots of greenscreen and color correction.
    Anyone have any experience with it? We're talking about going RED for it but I need other options for the bid.

    Doesn't appear to right now. That was one of the bullet points in the literature pre-release, but it looks like it was canned for the time being. I would imagine we'll see it at some point in CS4--maybe the next point update?--but I wouldn't bet on that horse.
    Panasonic does have a transcode module for FCP, that'll turn AVC-I into ProRes422. You could then install the ProRes422 decoder for Windows (I guess I'm assuming you're on Windows) and edit those in PPro--the decoder actually works pretty well, in my limited testing. Granted, it's not a native solution, but a solution, nonetheless. RED and the beta importer might be the better option.
    EDIT: Another option would be to download and install the demo of Grass Valley Edius, which natively supports AVC-Intra. You could transcode to whatever you wanted, then--like Avid DNxHD, for example. Again, not native--but what can you do? :)

  • AVC Intra Codec Problem

    Has anyone found an link to download AVC Intra from Panasonic. Apple says update supports it but need to obtain codec from Panasonic and I can't find it anywhere. Any help pointing me to the correct download site would be very much apreciated.

    See here:
    http://panasonic.sixbullets.net/
    https://eww.pavc.panasonic.co.jp/pro-av/support/cs/csregistp2m/ep2main/avcidle.htm
    https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/index.htm
    G.

  • Since last Premiere Pro CC Update no more MXF AVC-Intra Class 100 Playback. Any suggestions?

    I updated Premiere Pro CC two hours ago and since then there is no more realtime playback of my MXF AVC-Intra Class100 1080p footage, which worked perfectly bevore. When paused it shows the current frame of the footage after about 10 seconds. Does anyone else have this problem or are there suggestions what I can do?
    Thank you! David

    Hi Vinay,
    the reset of the preferences did the job! Thank you very much for your help! For everyone else having the same problem, press "ALT" while starting premiere to reset the preferences.
    Thank you very much!!
    Regards, David

  • Audio unstable with AVC-INTRA

    I'm working with Premiere Pro CS4, with the last update 4.2.1 in a PC with Windows XP Professional and with the last driver of AVC-INTRA.
    When my project is open with AVC-INTRA files (AVC-I 50 1080i50), the two channels of audio changes at a little time and then only I monitoring one channel for the rest of time. Always, when I starting Premiere it's all right. But in a little bit of time, when I edit, for example, or change to another screen of windows, when I return, I only hear one channel of audio by the two speakers. After rendering, the final project it's all right with original two channels. I have installed Premiere in another PC (with windows 7 x64) and the problem is the same. First it's perfect but in two minuts I can't hear two channels. This files, in P2 Viewer from Panasonic, are all right always. The problem is only in Premiere Pro. Any suggestion?

    Jeff,
    my procedure is:
    1.- Format
    2.- Install Windows
    3.- Install Windows updates
    4.- Instal Premiere
    5.- Activate
    6.- Install Adobe Updates

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