CS5 Mixed video formats in same sequence

New user here, coming from 10 years of Pinnacle Studio.
I have at least 3 different video formats to edit in a single sequence/timeline (iPhone, 720 from a Sony point and shoot, and 1080i from a Canon video camera). Depending on which format I use for the sequence, when I drag the videos to the main Video1 track, the audio will go to whatever track is appropriate for the mono or stereo. The iPhone and Sony are both mono and will be on one track and the Canon is stereo so its audio jumps to a stereo track.
So my question is, am I to make all my audio adjustments on both mono and stereo audio tracks depending on where I am making the volume changes on the timeline. In Pinnacle, the video and associated audio was always on the same track pair. I was just wondering about workflow and the best way to make the audio adjustments.
My project typically is a year's worth of video footage from the 3 sources, making a Year In Review. There will be soundtrack music from MP3's playing most of the time, with occasional original audio from the video being raised in volume for a few seconds, then fading back down to hear the soundtrack again. Keeps the audience more engaged.
One more question, what format should my sequence match, the 1080 stereo Canon, 720 mono Sony, or mono iPhone. The end result will be for viewing on widescreen big screen DVD or Blu-ray. I would like to make the mono on both channels, and upscale to 1080. Not sure the best way to do this.
Any guidance will be greatly appreciated.
Thank you.

Thanks everyone. I will continue practicing and learning.
Another question. After editing, I will be authoring with Encore, which I have used for many years now. How should I structure the audio tracks in Premiere if I want the mixed audio track (master track) to be the main audio track in Encore (on the DVD) and the original video's audio to be the alternate audio track in Encore (on the DVD). While playing back the DVD, the default audio track will be the mixed audio. If the viewer wants to hear the original audio only, then they just hit the audio button on the remote to switch tracks.
Funny how this requirement came about. For years I always just had the mixed audio. But while watching the videos, my kids started telling me they wanted to hear the original audio. Knowing the video would be too boring to adults without a soundtrack, I came up with the idea for multiple audio tracks. That requirement eliminated the consumer lever authoring tools, which is what pushed me to Encore back in the version 1.0 days. Since then I have been using Studio to edit, and Encore to author. Now I am trying to dump Studio and use the Premiere/Encore pair.
The way I did this in Pinnacle Studio was to output the video and mixed audio as an AVI or MPEG2 file, and import this as the timeline in Encore. Then from Pinnacle Studio, output the original audio only as a .wav file, and import this as a 2nd audio track in Encore. Worked perfectly...as long as Pinnacle kept the audio in sync, which at times was difficult, but with the newer releases of Studio, it worked much better.
Thanks for all the guidance.

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Premier Elements 7 - confusion over mixing video formats

Hi
I have been using a DV camcorder (SD quality) for some time, originally recording in 4:3 format, and more recently in 16:9 format (as we bought a wide screen telly).
I have just treated myself to a new AVCHD Panasonic video recorder recording High Definition footage in 1080 16:9 PAL format onto an SD memory card.
I wanted to take all this footage and put it on my computer to edit it together and start making some films to keep for the future - on DVD for now, and at some point on Blue Ray. To this end I have just purchased Adobe Premier Element 7.0, with Photoshop Elements 7.0 bundled together.
My confusion is that it appears I can only use one format in a "project" as I need to define the parameters for the "project" in terms of SD vs HD and 4:3 vs 16:9. I was hoping to be able to store all of my footage of various quality definitions and screen ratils into a "library" (which I see is called "Organiser" in Adobe terms) on the hard disk, and then pick and choose from the "library" what to put into each "film project" as I make them, mixing formats as I wish. I realise that in this way, the output would itself switch from 3:4 to 16:9 etc on accasions as I switch scene to use a different format, and so may not appear to be the smoothest edit.... but I thought that would be my decision to do if I wanted it. Instead it appears I cannot mix a few minutes if 4:3 SD footage of my son as a baby, with more recent 16:9 1080 HD footage of him as a boy - which is a real shame as it is what I wanted to do....
Have I misunderstood, or am I right in thinking I am limited in this way?
Why can I mix still photos of any format with video , but not mix different formats of PAL video?
Many thanks

Thanks Paul
I have been having go, as you suggest, and as you said, I cannot edit my AVCHD footage in Scene mode as it has 5.1 audio (which I cannot change on the videocam) This is very disappointing as I really wanted the simplicity of the scene editing rather than timeline.... This is compounded by the fact that timeline editing seems even more complicated than normal as each new AVCHD clip I add is placed onto a different video track (not all on track 4 as you thought)- so it is real mess to work out on my screen.... Is this a bug, the way PRE treats 5.1 tracks - or is it just oversight and poor design? Do you think it might be addressed by Adobe?
Anyhow, thanks for explaining what is going on, as without your warning, I would have assumed that the PRE 7 sceneline feature was broken - you would have thought there would be some warning / documentation from Adobe about this, as effectively, a big feature is now unavailable to me as an AVCHD user - and the product claims to be compatible with AVCHD!
Would you be able to advise on a couple more of my "newbie" file format questions?
How do the settings work between setting the initial PROJECT format, and then choosing the various OUTPUT (sharing) settings. For example, if I want to edit a project using AVCHD clips only, and output it to DVD quality to watch on a PC or burn to DVD disk, do I get the same thing if I set the project setting to PAL AVCHD High Def 1080 5.1 and then the share setting to DVD quality output, as I would if I set the project settings to DV 48hz and the share setting to DVD quality output?
My ideal would be to retain the High Definition of the footage through the editing process and then be able to output to DVD quality now, but to be able to come back to the finished edited project in the future and choose to output it to Blueray when I have upgraded my TV and bought a blueray player. i.e. I am trying to make my filming and edited projects a bit futureproof....
Finally, I am just not up enough on all the different format lingos (Mpeg1, MPeg2, H.116 etc) to know what I should be choosing from the list for:
1) outputting edited footage to burn onto a DVD to be used on a DVD player
2) outputting edited footage to save onto a PC to view in the best possible quality on a PC
Do you know?
Many thanks

Is there a way to have more than one video format in one sequence? (CS4)

I'm fairly new to Premiere Pro and I'd like to have segments of raw footage with different resolutions and frame rates in the same sequence so I can edit them together. Is there a way to do this in CS4? Thanks for your time.

Oh sorry, I'll go see if i can delete my other post. I realize now that what I'm looking for wouldn't really be possible, to create a sequence optimized for two different video formats, i.e. no red bars for either clip. I should have specified the first time I asked, my apologies. Thanks for the response!

Multiple formats in same sequence

I have officially switched from using a Mac to edit wedding videos over the past 8 years to a PC. And I'm switching from Final Cut to CS5. I film weddings with three cameras. One is a T2i (so h264 .mov files), and the other 2 film to mini DV tapes. In the past, I've converted all the footage to ProRes 422 in Compressor and edited in a ProRes sequence. As I understand, I'll now be able to edit the T2i footage natively, but I am unsure how I should go about capturing (or transcoding) the miniDV footage so that it will flow best with the T2i footage. Any assistance is appreciated. Thanks, and I'm looking forward to all the great features Premiere has to offer!

Are these DV cameras or HDV cameras? If DV, you're not going to have really great results creating HD output from SD source. If it's HDV, you don't want to use a DV sequence, but instead use a relevant HDV preset.
Ultimately, scaling standard definition to high-definition by any method is not optimal; the results are nowhere close to shooting in HD originally. In addition, it doesn't make much sense to scaled HD video down to SD for editing, only to scale it back up to HD for output. Clarify your source cameras for a better recommendation.
Premiere has a "scale to fit" option in the preferences; I don't recommend using this, as everything you drop into ANY timeline gets scaled, whether it's larger or smaller. You can scale to fit on an individual basis (right-click a clip), but the better way is to use the Scale parameter on a single clip, save that as a preset, and apply that to other instances of the T2i footage elsewhere in the sequence. Alternatively, you can copy the Motion effect (where Scale is located) and paste it to the other clips.

Render and Replace Different Format In Same Sequence

Is there any way to keep the Interpret Footage settings after make Render and Replace option?
I have a sequence setting in 1080 50p with two different formats 50p 720 (interpret in 25p) / 1080 25p, I did a render and replace of the total. And the result was that the rendered footage doesn´t respect me the interpret settings.
Thanks.

Render and Replace is currently designed to transcode the clip and keep the Interpret Footage settings applied to the clip (not burned/rendered in). There is a feature request to burn/render in Interpret Footage (and other effects) to the transcoded clip.
Not ideal, but a possible workaround would be to export the clips with "Import into project" selected in Export Settings, then Replace with Clip to get your desired outcome.

Different video formats in same timeline

hey,
so i need to edit some clips together that were shot in different formats. im editing prores 422 lt footage that was shot at 108024p with a canon t2i with some ripped dvd clips. im using mpeg streamclip and ripping them as quicktime apple hdv 1080p24 files because those dvds were shot with and hdv camera. the timeline setting is the one fcp recommends when you import into the timeline, apple prores 422 (lt)1920x1080 24p 48kHz. they seem to play fine in fcp, but when exported it is as if the different formatted files have difficulty transitioning from one clip to the next. the screen goes green or the image completely breaks for a moment or two before rendering back to its normal quality. i searched all over for this and couldn't find a thing so i apologize if there is a thread that covers this already. any help is much appreciated.

Convert them to the same format. If you want help with this you'll need to give the exact specifications of the different media as it is in the QuickTime player's movie inspector.

Mixing Video Formats in imovie06HD

I have to produce a video of my son's graduation ceremony for which I need to include footage shot in Widescreen HD with camcorder footage shot in standard definition in 4:3 format. I need to include all the footage as important elements are in both.
I don't really want to see the 4:3 footage stretched or letterboxing.
Two questions:
If I create the project as DV will imovie chop the edges of the widescreen footage or squash it? Can I choose how imovie treats the footage?
If I import Standard DV into an HD project will imovie upscale it?
Advice will be much appreciated.

I have been thinking (yes, really!) about my own experience with doing this, which was my son's wedding (my tape ran out during his speech and had to be changed over, so I had to insert somebody else's bit with the missing sentences), and those was in 4:3 whereas my video was in 16:9. Yes, using iMovie 6.
So, what did I do (because it worked)? Honest answer? I don't remember, it was 9 years ago! The object is to 'fix' the 4:3 footage so that the 16:9 iMovie project won't change it. Using mpegStreamclip is one way to do it. Convert the footage to DV, and look carefully for the various options regarding the aspect, that should do it.
You can also do this in Quicktime Pro if you have it.
If you don't have success with Streamclip post back, and I will attempt to repeat the excercise and take some screen shots!

Possibility to assign a color profile in the color management tab for more video formats

Presently, in After Effects CS5, in the color management tab of the "Interpret Footage" dialog box the possibility to assign a color profile to footage is grayed out for many video formats.
Formats that allow to assign a color profile include Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation as well as various image sequences, like tiff-sequences. (Motion JPEG A,B and Quicktime/MPEG-4 are not very helpful in this context because they have a small color shift when reimported to After Effects.)
Formats that do not allow to assign a color profile include Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V. (Here, H264 main concept has anyway the disadvantage that it has a color shift when reimported into After Effects.)
In After Effects CS4 it was possible to assign a color profile to Quicktime/H264, Quicktime/PhotoJPEG, DVCPRO HD 1080p30, but in CS5 this is no longer possible.
Those video formats that do not allow to assign a color profile automatically are interpreted as having the color profile HDTV (Rec. 709) Y'CbCr in case that the videos have 1920x1080 format; similar applies to PAL formats which get SDTV (Rec. 709) Y'CbCr color profile.
(I did not find anything of this automatic assignment to HDTV or SDTV color profile in the "interpretation rules.txt" file, therefore it must be written into the programme itself.)
With growing popularity of wide gamut monitors it becomes necessary to produce footage and other videos that have a color profile different from HDTV or sRGB. When such footage is reimported to After Effects it has the wrong color and the only workarounds are either to use (in After Effects) the effect "Color profile converter" which necessitates extra render time or to use somewhat unpopular formats, like JPEG2000 that has very large filesize.
Presently many footage is produced in Quicktime/PhotoJPEG and therefore it would be very desirable to allow to assign a color profile to such footage in the color management tab of the "Interpret Footage" dialog box.
Does anyone know why in AE CS5 the video formats Quicktime/PhotoJPEG and Quicktime/H264 do not allow to have an arbitrary color profile assigned (although it was possible in CS4), is it a bug, or does it have a deeper reason.
In this context I have a related question, often I read that Quicktime videos have a gamma tag. Does this mean that part of the color profile (the gamma value) is actually embedded/remembered, like you have it for images where the gamma is part the embedded color profile.
I use AE CS5 on Mac Pro 2009 with OS 10.6.7.
Thanks,
Volker

Thank you Rick for this interesting explanations and the links to articles.
In the past few days I performed a few tests in After Effects and it is interesting that you mention that cameras, like the Sony EX3, allow videos to have embedded color profiles. I am not working myself with cameras but either get footage from the internet or sometimes videos from our video department which produces videos with professional SONY cameras, usually I get them in a matrox mxf format.
As far as my test with After Effects show it is not possible to embed color profiles in the videos rendered with After Effects. Independent of the color profile in the working space and independent from the color profile in the output module I always get the same reaction if I reimport videos rendered by After Effects back to After Effects:
In AE CS5 videos made in the formats Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V are always interpreted as color profile SDTV/HDTV (Rec. 709) Y'CbCr (even if I made them in other color profiles, such as Adobe RGB, Photo RGB, sRGB); and there is no possibility to change this interpretation rule.
In contrast videos made in the formats Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation are always interpreted as sRGB (even if if I made them in other color profiles, such as Adobe RGB, Photo RGB, HDTV); only this time I can change the interpretation rule. Therefore if I know for example that if I had selected Photo RGB in the Output module I can change after the reimport the interpretation rule from sRGB to Photo RGB and only then I get again the original colors.
The only exceptions are picture sequences, such as tiff-sequences, where the original color profile is automatically selected in the interpretation of the footage.
Therefore, unfortunately for videos produced by After Effects your advice "If it says something like sRGB and you can change it, in most cases you shouldn't change it because the guess is probably right. If there is no color profile assigned then you should assume that is correct." is not so easy to be applied. You have to know how you did it originally in the Output module and hope that you can change it to the proper color profile, in case that the original color profile in the Output module was different from sRGB and HDTV/SDTV. But it is interesting to hear from you that with cameras there seem to be more possibilities.
For this reason it would be nice if in future versions of After Effects one could change the color profile in the the color management tab of the "Interpret Footage" dialog box also for formats such as Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V.
Of course one can always circumvent shortcomings by using tiff-sequences, QT/jpeg2000, or QT/Animation as formats for storing, which is anyway better for lossless or nearly lossless storing, but the files are then too large and also cannot be played easily with a player.
Volker

Different video formats

Hi, I need some help.
I've been using Premiere Pro for about a month now, so I know the basics, but I'm still not an expert.
My problem is that the filming I've been doing (using Fraps) is in 3 different video formats :
1. 640x400 with 120 fps
2. 720x450 with 120 fps
3. 1280x800 with 30 fps
I've tried putting them all together in a sequence and editted the video sizes/formats so they all fit each other, but it seems to ruin the quality of the videos and also make it blurry at places (especially when exporting). Now my question is, if it is possible to have all 3 video formats in one sequence without it ruining the quality?
I've thought of changing the video formats before importing them into Premiere Pro - just not sure if this is possible.
Thanks in advance!
[Moved from the generic Cloud forum to the specific Program forum... Mod]

Upscaling that 640 footage to anything "higher" would be problematic, so you'd be limited at best to the 720 to get really usable output. But if you're downscaling to the 640, then if done properly should look good. What's your settings for sequence & export?
Neil

Final Cut Pro 7, mixed video resolutions correct to make all same size in sequence...?

I need to know the correct way to have mixed video resolutions in the same sequence, what is the correct way to get they all to be the same resolution, do I do this before they are added to the sequence, if so what do I use to make sure they all match the same resolution?
If I do it in the sequence, what is the correct workflow to do so?
Thanks in advance for your reply,
Sebastian

What are the pixel dimensions and codec of the sequence you want to create?
What are the various source pixel dimensions and codecs you will be using?
MtD

Why do I get 5 times the same updates of Pro Video-Formate 2.0.1..0 ?

Why do I get 5 times the same update of Pro Video-Formate 2.0.1..0 ?
I already suspected a virus on my macbook air.
Is this a bug in the app-store??

I'm having the same problems.
Here's what stopped the App Store Reload:
Delete all content (except "Core Audio" folder) in the "Library/Quicktime/" folder (copied to a temp folder elsewhere.)
Restart
Install Pro Video Formats 2.0.1 from direct download: "ProVideoFormats.dmg"
Restart
App Store shows everything for updates OK. Pro Video Formats cleared.
Next to determine from the QuickTime Library folder what formats can be reinserted.
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HT3775 which Video format is best for adobe premiere CS5 and CS6

I would like to know which video format to import in adobe CS%- CS^ because it looks like it's kind of slow. when I import the video file as mts

FCP is a quicktime based NLE and your footage would be most compatible if with if encoded in the Quicktime Movie file format (MOV)
As far as quality goes, DV is a codec (and not an especially high quality one), AVI and MOV are container formats and can contain a huge variety of different codecs which can vary greatly in quality.

What project preset do I use? AVCHD and DSLR footage being used in same sequence

I am using a Canon DSLR T3i and Panasonic HC-X920. They can both shoot native 24p which is how I will be recording. When I set up my CS6, what project settings should I use? I want to mix the two sources on the same time line so I'm confused on how to do this because on the sequence settings I can only choose either AVCHD or DSLR. I want to do simultaneous multi-camera editing on the same timeline. So its not like I can set up two different sequences with different settings because I want to be able to cut back and forth within the same sequence while using both cameras. (problem is... two different types of footage ).
Thank you - Mark

Thank you so much for your input. Yes, I should have been more specific when it comes to the frame rate; it is indeed 23.976 for the T3i as well as the Panasonic. I have mixed T3i footage recorded at 23.976fps and then tried to mix in a Canon hf-M41 (avchd) camcorder which records in 60i "supposedly". Although Premiere says it is 29.97 when I bring it into the editor. Anyways when I would mix these two formats it looked like crap. The preset was set up for the DSLR and the hf-M41 played like it was in slow motion even upon rendering and exporting. I would get the red line above my M-41 footage because it didn't match the preset settings. I would then render it thinking it would look right but...nope. I just bought the Panasonic HC-X920 today from BandH, it has a 30 day return policy so I will see how the T3i and Panasonic work together within Premiere. I purchased the Panasonic because the Canon M-41 footage looked so crappy when it was mixed with the T3i in the timeline(because of the different fps and interlacing). I used the Adobe Media Encoder but I got the same results of crappy slow motion jittery footage from the M-41 when I tried to convert it to a 23.976fps .MOV file. Since the Panasonic shoots native 23.976, the two "should" work better together. My only concern is the difference in codecs because the frame rate should be identical. I don't want to get that red render bar when I bring the Panasonic footage into the time that was set up for a DSLR or vice versa. If I do I'm afraid of the obtaing the slow motion effect again. I must have the auto focus from a camcorder when I'm shooting on a jib or other tough moving shots like a steadicam.

Multiple video formats in one feed?

My podcast (http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=348713189) has videos formatted for Apple TV, but that means subscribers can't load it on their iPods. Is there a way to host multiple video formats in one feed?
Feed url = http://buzz.snow.com/media/lindseyisepic.xml

The 'enclosures' in a feed don't all have to be the same format, so you could certainly mix differently formatted episodes.
But note that different versions have to appear as different episodes (even if it's the same content) - you can't have two 'enclosure' tags within one 'item' tag - the second will be ignored.
Another point is that if you do two versions of every episode you are forcing subscribers to download both versions, so there is a lot of redundant downloading going on. It might be better to make two different podcasts, one with the Apple TV versions and one with the iPod version: note that if you do this the titles must be different (so you could add the media type in the title) and of course the second version must be submitted as a new podcast. Once done, iPod users wouldn't have to download all the Apple TV files and vice versa.

Maintain multiple video formats as versions

I have a large Aperture library of personal photos and videos from a history of digital cameras going back over 10 years. The videos are in a number of formats ranging from AVI, MPEG, MP4 and MOV.
I have had issues syncing videos to our iPhones/iPad through iTunes using the Aperture library as the sync source due to the video format not being supported (there are a number of discussions on this forum that talk about this error). From what I can gather, iTunes will only sync certain supported video formats, requiring the videos to be converted accordingly. The majority of my videos fall into this category.
I want to try keep all my videos in their raw format and was thinking maybe I can create iTunes friendly versions of the videos (mp4 or m4v etc) and store them in Aperture as versions of the orginal videos. I have looked at a few articles that mention videos can be externally edited (http://aperture.maccreate.com/2011/03/14/setting-mpeg-streamclip-as-your-externa l-video-editor-aperture-3/) and saved back into Aperture as versions, however I have not been able to get this to work correctly and am usually prompted upon saving to pick a folder location for the new version. I'm not sure how this works in a managed Aperture library.
Has anyone had any experience with this or can offer any solutions?
I was considering writing a plugin or AppleScript to go through my library and do this automatically, however I'm not too sure how feasible the option of hosting multiple video files linked back to one master is.
Thoughts or suggestions welcome.

To alleviate confusion, a "version" in Aperture world is a master image that has had changes applied to it in Aperture. Aperture gives you a thumbnail or preview of the master using the changes contained in the version file.
What you want to do cannot be done by using versions, because video is not edited in Aperture. That is why each time you edit it with an outside editor, it is asking to import as a new Master, and thus, where you would like to store it. In a managed library, master images are stored in the Aperture library along with everything else. In a referenced library, the masters are stored wherever you like and only versions ("changes") and preview files are stored in the library.
The answer to your question is to use stacks. Import all your converted videos and stack them with the originals. Use the "friendly" version as the stack pick. It should be seen by other programs. When you want that original "unfriendly" file, its in the stack. This will double all your videos though...you won't have versions, you will have two masters.
There is no need to write an applescript. View all your picturs, then use the magnifying glass tool in the top right corner of the browser view. Click on "Add rule", go to file type, and pick movies. Or, conversley, you could display everything that is not an image. Then you can see all your videos and drag them to an album. You could also make a smart album that contains all your videos by adding the same rule. I highlighted my movies in purple using the metadata editor. Much faster to spot them.
My personal point of view is that doubling your videos will make your library much larger unless you are using referenced masters. If you are using a managed library, you could make the original, unsharable videos referenced once they are stacked. Aperture would know where they are, but not keep them in the library. If you are unfamiliar with referenced masters, I would either learn about them or use the method below.
I don't see much point in even keeping videos in formats that cannot be shared, edited, or viewed by the programs you want, unless its solely for organizational purposes or you are mixing work and life. I would just convert all the movies, leave the originals in an untouched folder, then import the converted ones I am actually going to share and watch into Aperture. But I can easily imagine reasons to use the stacks method as well.
Good luck, hope that all made sense.

CS5 Mixed video formats in same sequence

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