Editing F4V in Premiere?

I am using FMS 4.5 to record a live webcam stream. Because of the poor quality when recording both video and audio on one stream, I use two NetStreams and end up with two .f4v files - one with the video and one with the audio. I need to now combine these into one proper video file. However, these files don't import into Premiere (which is really lame) - giving an unsupported compression error or some such nonsense. Can someone please let me know how I can combine these files, and why the heck Adobe's own products can't open the files.
Also, I use Windows 8 and the Camera app (metro app) can record 1920x1080 video with great quality audio, at 30fps. FMS cannot come even close to this... WHY? Really wish Adobe would fix this.

Welcome to the forum.
I agree with you and David, that the variable Frame Rate is the issue. That might be fine for playback, in a player, that can handle the variable Frame Rate, but not for editing, where you have a fixed Frame Rate.
I would try David's suggestion, and hope that the conversion will maintain sync, while giving you a constant Frame Rate.
Good luck,
Hunt

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Any way to edit f4v?

Hi, I've got Premiere Pro CS4 4.1.0, and have encoded several hours worth of f4v files (h.264 and mp3) with Flash Media Live Encoder 3.0 from a live event I streamed. I've flattened them all using the f4v post processor provided by Adobe, and they all play back fine in Adobe Media Player as well as the Flash client. The problem is that I need to trim the beginning of each file, but can't import them into Premiere even though it says to "Use the F4V Post Processor tool to prepare F4V files for editing in Adobe Premiere® Pro, delivery over HTTP, or in video players that support H.264 and AAC formats, including Adobe Media Player."
I've tried importing into Premiere on two different machines. One is a dual core 2.0GHz running Vista 32-bit with 4GB of RAM, and the other is a quad core 2.6GHz running Vista 64-bit with 4GB of RAM. Both will sit and spin for an hour or more before finally throwing the unsupported file format or damaged file" error. The files are each between 400-900GB. I'm posting them as progressive downloads and don't want to waste gigs of bandwidth when the first 15-30 minutes are going to be fast-forwarded. It shouldn't be this damn hard to trim a file!!
If anyone knows of any 3rd party solutions or Adobe secrets I would be very greatful.
Thanks,
Patrick

Burzuc wrote:
"One particular limitation is that you should trim your source video only in keyframes - othervise you can sometimes expect slight lag in your video or audio out of synch."
And how do you do that? How do I know when I trim in keyframe? Because AviDemux is loosing a few seconds of sync in a 2 hr clip.
BTW, for some reason AOne Splitter will not save my f4v flatened clips "same as source", but only re-encoded, and my Adobe After Effect CS4 will crash or try to convert the file before open (it took too long importingand so I forced it to close)
Thank you,
Mike
Hi,
here is screenshot where you can see how to recognize frame type - in h.264 video there are three types of frames: I, P and B. And the I frame is only another name for keyframe, so you need to check against that type. Also you can utilize the two highlighted arrows, which will skip to prev/next keyframe.
I actually tested for those audio lags in long clips and I have experienced no issues, even in 6 hr long clip. But I have not tested HD stream yet, only PAL.
Plz write more about your hw configuration and sw versions you use.
PS: sorry for non-english captions in screenshot, i didn't figure out how to change language of interface in AviDemux

How do I get the codec for .mov files recorded on an ipad, so I can edit them in premiere El. 12?

I have .mov files recorded from an ipad with these specs:
AAC, Mono, 44.100 KHZ
H.264 320x568 (yes the ipad was used vertically, not horizontally)
29.96 fps
I want to edit them in premiere 12, but get this error message:
This type of file is not supported or the required codec is not installed.
What are my options? Thanks!

linn749
Thanks for the reply.
As for orientation, there is a rotation feature in Premiere Elements 12....at the Timeline level, you can right click the clip and select Rotate 90 Left or Rotate 90 Right. So that may help.
This is what you may want to try and see what this looks like
1. Open Premiere Elements 12 to its Expert workspace
2. Go to File Menu/New/Project and Change Settings
3. In the Change Settings dialog, change the project preset to NTSC DV Widescreen.
4. Before you exit that area, in the last dialog that you see (new project dialog), make sure you have a check mark next to "Force Selected Project Setting on this Project".
5. Back in the Expert workspace, use Add Media/Files and Folders/ to bring your video into Project Assets from where you will drag it to Video Track 1. We can talk about edits if necessary.
6. Publish+Share/Disc/DVD disc with preset set for NTSC_Widescreen_Dolby DVD.
7. Place your DVD 4.7 GB/120 min disc in the burner, in the burn dialog, have a check mark next to "Fit Content to Available Space". Hit Burn.
If you decide to take the Timeline to YouTube instead,
Publish+Share/Social Websites/YouTube, using Presets = Flash Video for YouTube (Widescreen)
Hit Next and follow the instructions.
(Upload to YouTube from within Premiere Elements 12 has limits of 2 GB and 15 minutes. Anything exceeding that, you need to export to file saved to the computer hard drive and then upload that file to YouTube at the YouTube web site where you might be able to get extended limits.
Please let us know if you are OK with the above information.
Thanks.
ATR
Add On...If you want to "decorate" the black borders in the Timeline content, drag the video to Video Track 2 and put a colored background on Video Track 1 directly below the Video Track 2 content.

Hi i am currently editing clips in premiere pro cc but everytime i go to change the speed not the duration of a clip it will not let me select it - also when i go to effect controls it will not let me select time mapping? please help

Hi i am currently editing clips in premiere pro cc but everytime i go to change the speed not the duration of a clip it will not let me select it - also when i go to effect controls it will not let me select time mapping? please help

savannahp
What version of Premiere Elements and on what computer operating system?
Please review the following that I excerpted from an older post here regarding Adobe's PRE_help comments about Hollywood Effect and mention of
Red Noir. Does any of the following apply to any of what is happening to you.
- Whenever I try to add an effect from the Hollywood Looks menu, it brings up a warning that all my previous effects on that clip will be deleted. However it will let me add those same effects *after* applying Hollywood Looks.
This is because of how the Hollywood Looks are designed to be used. Since these are effect presets (multiple effects in combination) that result in a specific "look"; they are best applied in isolation. If any previous effect is applied and we still allow a Hollywood effect to be applied, we will not be able to see what the effect does clearly. For e.g. if you already have a Gaussian Blur effect applied to your clip, and then we allow you to apply the "Red Noir" Hollywood effect, the fact that the "Reds" in the scenes will be highlighted and the others converted to B/W will not be clearly seen since the content is already blurred out. So any previously applied effects was designed to be removed. This holds good even if you apply a Hollywood look "on top of" another one. The previous one will be replaced. Having said that, you can customize the look further by either tweaking an already applied filter or by adding a newer effect on top. That is the reason you can apply an effect on top of the Hollywood Effects and not vice versa.
Please review and consider and then we can proceed from there if necessary.
ATR

Where is the extend edit command in Premiere CC ? I want to assign a shortcut for it. Thank you

Where is the extend edit command in Premiere CC ? I want to assign a shortcut for it. Thank you

Do you mean these?

Export from FCP to edit in Adobe Premiere

I need to export 3 hours of HDV footage for a client who plans to edit it in Premiere. I know when I capture it and give it to him it doesn't work. What is the best way to export all the footage to give him to edit? I looked into uncompressed 8 bit but it said it'd be about 400 gigs per hour and I can't have that large of files and since it's already HDV I know it is compressed, whats the best way to do this? Thanks

If that codec is too big, then you need to look at third party solutions. SHEER by Bitjazz is cross platform.
Otherwise, like stated, output to tape and get that to the Premiere guy.
Shane

Kindly explain the exact configuration of Video Editing Suite: Adobe premiere pro CS6.1, its price in India and if it is also equipped to edit photographs

Kindly explain the exact configuration of Video Editing Suite: Adobe premiere pro CS6.1, its price in India and if it is also equipped to edit photographs too.

This is a user to user forum. We are not Adobe. For pricing information, you need to contact Adobe Sales in India.
Premiere Pro is just for editing video. Photoshop or Photoshop Elements is for editing photographs.

How would you edit 4k in Premiere Pro CC and export in 2.5k and 1080p (all within premiere pro, is it possible?), how would you edit 4k in Premiere Pro CC and export in 2.5k and 1080p (all within premiere pro, is it possible?)

how would you edit 4k in Premiere Pro CC and export in 2.5k and 1080p (all within premiere pro, is it possible?), how would you edit 4k in Premiere Pro CC and export in 2.5k and 1080p (all within premiere pro, is it possible?)

Edit 4K and export what ever you want from AME

Multi-camera AVCHD editing workflow in Premiere CS4

I have a client project that has me wondering what workflow to use and I someone on this forum probably has the expertise to know the right solution. My requirements...
1. Client is recording a scene using 4 cameras at once, like a live TV show is shot, all AVCHD footage, 1920x1080px 17mbs, square pixels.
2. I must playback in Premiere the 4 video streams in real time and choose one camera to output, like a director would switch a live TV show. So, all 4 streams are playing in Premiere's multiple-camera editing windows. Each show I'm editing is about 1 hour long. The advantage of multi-camera editing of course is I can play all 4 cameras at once and live switch between them in Premiere to arrive at a 1 hour show in 1 hour of editing time.
3. Until I can upgrade my hardware that can possibly handle 4 streams of AVCHD, I'm stuck needing a workflow to convert the original AVCHD to some lowres format, edit those offline low res copies to get my edit decision list, and then reconnect the online HDV AVCHD clips to export through Media Encoder for a final production. My output format is Flash F4V 640x360 px square pixels for Internet playback.
4. Hardware: I'm running Windows 7 RC using CS4 Premiere 4.1, 4gb RAM, 2.4ghz dual-core processor with 64mb Intel turbo boost on a notebook PC. I do have 4 hard drives to hold each camera's footage on its own drive, and a fifth drive to ouput the edited version to, in addition to a drive to hold my OS and Premiere. The external drives are connected via eSATA to the notebook.
Question 1: what do you suggest as the lowres format I should convert my AVCHD footage to for multi-camera playback/editing in Premiere?
Question 2: do you think it's even possible to buy a desktop PC that can handle playback of 4 multicam AVCHD native format files in Premiere in real time? I'm concerned this may be too much for even the most powerful systems, and I would need to resort to editing lowres footage even with the most powerful desktop. As you know, decompressing one or two AVCHD streams is taxing to a PC so 4 at once is a challenge.
Question 3: an alternative workflow would be to feed live video out of the HDMI connectors on the cameras into four HDMI capture cards (Intensity Blackmagic) and capture uncompressed HDV bypassing AVCHD compression altogether, but the disk space required would be substantial. Does this make sense? I've even considered feeding those 4 HDMI feeds into a video switcher between the cameras and PCs but the cheapest solution I can find that can provide genlock (frame sync) between the 4 cameras for clean glitch-free switching is quite expensive, thousands of dollars invested.

I must playback in Premiere the 4 video streams in real time
Good luck with that. Many folks have trouble with even one stream.
edit those offline low res copies to get my edit decision list
I'm not sure offline editing with AVCHD will be possible because of the folder structure. You may not be able to 'replace' the lower res copies with AVCHD.
My output format is Flash F4V 640x360 px square pixels for Internet playback.
Oh, man. Shooting HD of any flavor is just overkill that adds unnecessary work to the process. Have your client shoot in DV.

Sync when compressing HD FLV and F4V in Premiere Pro CS4

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

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

Can you use more than one computer to edit the same Premiere Elements Project?

I am using Premiere Elements 10. I have built a new project on my desktop computer because the desktop has a firewire port to capture video from my camcorder and my laptop doesn't have a firewire port. The project is stored on my home network. I seem to be able to do editing fine using the desktop computer that the project was created on, but it won't load up right on the laptop for editing. Premiere Elements is configured the same on both computers. I guess my question is - does Premiere Elements store something on on the computer that the project was created on that is not being stored on the network drive? How can I fix the problem so that I can edit on my laptop? The laptop is a top of the line Dell XPS with an i7 processor that I use for other Premiere projects, so the laptops ability is not an issue.
Thanks
Bill

Yes, having files stored on a HDD, but having the letter change between machines is a problem. The Project file (PREL) is only an XML database, with links to the Assets. Those links are Absolute Paths, so if anything changes, from drive letter, to file name, the link is broken.
I have over a dozen externals, that I use to migrate Projects between my main two computers. Each has had its drive letter set in OS of each computer. I started with Z:\ and worked down. Each drive has a lable on it with the designated drive letter. Unfortunately, I ran out of letters, as the workstation has a ton of HDD's and burners, so I had to start over. That does mean that I cannot have both Z:\ drives plugged in at the same time, but that has never been an issue. I wish that Windows would allow for double drive letters, say ZZ:\, but still, I have a handful of letters to use - just too many externals for those letters...
Happy editing,
Hunt

What is the best codec to edit with in Premiere? I use a Canon 7D.

With Adobe Premiere I read that you don't have to transcode your footage to edit, but is it BETTER to? In final cut people say that it is best to transcode your footage from h.264 to apple pro res in order to get higher quality footage. Is the same true with Premiere? Is it better to change your footage to a different codec before editing? FYI I use a Canon 7D.

Do the below to match your sequence and your video and you should be good to go
See 2nd post for picture of NEW ITEM process http://forums.adobe.com/message/3776153
-and a FAQ on sequence setting http://forums.adobe.com/message/3804341
The tutorial list in message #3 http://forums.adobe.com/message/2276578 may also help

Proxy editing in Adobe Premiere Pro CS3?

Hey all.
I understand proxy editing is a method by which the user does all of his/her editing with lower quality footage, and then all of the edits/effects/transitions/etc are applied to higher quality footage when the project is rendered. Does Premiere Pro CS3 support this feature? If so, how do I use it?

Perhaps, but not in my case. I'm doing my editing on the following rig:
Alienware Area-51 m5790:
Intel Core 2 Duo T7400 (2.16 GHz, 667 MHz FSB, 4 MB L2)
ATI Mobility Radeon X1900 (400 MHz Core / 470 MHz Memory, 256 MB, PCIe)
4 GB (2 x 2 GB) DDR2-667
Western Digital Scorpio Blue (320 GB 5400 RPM SATA)
Western Digital Scorpio Blue (400 GB 5400 RPM SATA)
Windows Vista Ultimate 64-bit
It's a laptop, and I'm taking HDV footage from a Canon HV20. It's not terrible at performance... but it's not as snappy as I'd like to see. Hence why I'd prefer to do editing with standard definition clips instead of the HD clips.

Unable to edit photos in Premiere Elements 11 [was: Setting up]

I have Elements 11 the Premiere and I cannot seem to be able to edit any of the photos. All that is available is to be able to brighten the colour or add a name or to crop. There are no tools whatsoever down the side and in fact I there are none shown. When I have brought up some of the photos all it seems to do is keep refering to videos and I want to edit photos.
I am very frustrated today.
Thanks.

I believe Premiere is for editing video, Photoshop Elements would be used for editing photos.

How do I extract files from a dvd I have already burned to re-edit back in Premiere?

I'm trying to extract the files from a dvd back to Premiere, the project was assembled with Premiere Pro 1.5, I need to re-edit that same project. The dvd is not a data disk.
Please help!!

Along with the material in Eddie's link, you might want to read over this ARTICLE by Jeff Bellune, posted in the Adobe Encore FAQ's. While it addresses getting the material into Encore for authoring, much will apply to your situation.
Personally, I use an A-D bridge (though the file structure is already in digital form) to Capture directly from my DVD player to my computer. This is for non-commercial DVD's from my clients, where the original material is no longer available.. It's quick, easy and my Capture software Exports as DV-AVI Type II, so there is no additional conversion needed. If I need to work on the Menu structure, etc., then I use a workflow similar to Jeff's, outlined in his article.
Good luck, and please follow Eddie's link,
Hunt

Editing F4V in Premiere?

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