Few Warp Stabilizer workflow questions

I'm looking for the best workflow with warp stabilizar, because it consists in 90% of my edit work.
This is my workflow at the moment:
Start to add my trimmed clips in the Premiere timeline
Right click the shaky clip and select "replace with AE composition"
In AE I right click the clip and select "Stabilize Motion", while analyzing I do step 2 with other clips
Once all the analisys/stabilization of all clips is completed I select "Render entire work area" in Premiere and check out if results are ok
If ok I add transition between clips and proceed with the color correction
I Select "Render Effects in work area" to have a preview of the final work..
Render sequence to file.
Usually the operation #6 of my workflow renders much faster, but doing that on stabilized clips it takes a lot more time.
Is my workflow correct or should I do all other edits before replacing the clip with AE composition ?
Is there a faster way to manage stabilized clips ? (exporting a new file from AE once stabilized.. ?)
If I need to re-trim the stabilized clip should I just do it in Pr , render again, and the analysis will be done in automatic ?
Thank you!!

When I stabilize a shot that I have in premiere there are two workflows.
I copy the shot in Premiere in the timeline. I then open up After Effects and paste the shot. In the shot comp I extend the length of the composition to give me "handles" then stabilize, add to the render cue, render to the codec that I'm using in Premiere Pro (usually ProRez 422 HQ or ProRez 444) and replace the shot in Premiere. If you know how long your handles are, mine are mostly 60 frames, then it's very easy to re-sync the edit with room for transitions.
If there are multiple shots or layered shots in Premiere I'll marquis select everything involved in the sequence and use the Replace with After Effects Composition option. This gives me an AE comp with all of the shots selected including room for transitions if they are in the Premiere Project. If the shot that needs stabilizing is long I'll Pre-compose it in AE, Add handles in the pre-comp, render the pre-comp in AE and replace usage. If it's just a short shot I'll just let dynamic link take care of the AE project.
I hope this helps. Every project has a slightly different workflow, but in most cases, I'm rendering heavy effects shots in AE and replacing them in Premiere. That's the nature of the work that I do most of the time.

Similar Messages

Warp Stabilizer VFX

I have the MC CS6 . I need to upgrade my warp stabilizer with a VFX effect .
How can I go about?
Thank you.
Ross

My normal Warp Stabilizer workflow is the stabilize the shot, adjust the settings to get the stabilization that I like, then render the shot to a 10 bit DI (digital intermediate) and use that footage for further production and effects. Only on very rare occasions will I try and Warp Stabilize a shot and then apply effects or composite to that footage or use it as a pre-comp. If I have short shots that need nothing but Warp Stabilizing I'll do that in Premiere Pro instead. You'll find Warp Stabilizer in the Effects panel under Distort....

Precomposing & Cropping & Warp Stabilizer? *Beginners Question*

Hi guys,
I'm new to AE and have been trying to follow instructions from this link (http://www.sinusdigitalus.de/2011/05/06/my-first-test-with-the-new-adobe-cs55-warp-stabili zer/)
I've taken out the important bit here -
"i´ve imported my sequence and applied the warp stabilizer on it. the first instance of the stablilizer was to stablize only the movement of the position, scale and rotation with a crop but with no rescale to keep the image quallity. i´ve precomposed the shot and resized the comp with the new dimentions of the shot after the crop. on this i applied a new warp stabilizer and this time i´ve stabilized the perspective also with crop but no rescale. again precomposing and rescaling the comp to the new dimensions. then i applied a third warp stabilizer on this new comp and did it again. this time with the subspace stabilization."
- As he mentions at the begining, it's not an indepth tutorial so where I'm tripping up is the precomposing and cropping.
I'm trying to stabilise a jpeg sequence using this guy's method (he passes it through Warp Stabilzer 3 times).
When I hit the Precomopse button it gives me 2 options and a box to tick whether or not to open new composition, which ones do I pick? And when that's done, how do I crop it so it's applied to the whole jpeg sequence before I use Warp Stabilzer agiain?
Thank for your help.

Not tried it but could you make a 2.7k sequence and warp stabilise that, using stabilise only or stabilise and crop. Then add this sequence to the 1920x1080 sizing to suit.

Warp Stabilizer Questions

Hello,
I have been using Warp Stabilizer in the CS6 release of Premiere Pro. I've noticed 2 things:
1) I have a sequence with a clip using Warp Stabilizer effect that has been rendered. If I add a clip directly after it and add a cross dissolve transition, it requires the entire first clip to be re-rendered. On complex stabilizations, this can take hours to days. Is there any way to have it only require a re-render of the impacted portion of the clip instead of the entire thing?
2) If I set my work area to a complex clip (synthesize edges, detailed analysis) with Warp Stabilizer and render the entire work area, it appears the efficiency goes down. I'm not sure how this is possible, but the estimates of completion time (and watching the elapsed time vs percentage compete) seems to indicate that it may exist. If I segment the work area to smaller regions in the clip and work my way through it, the total clock time to complete seems to be much faster. In one example, it seems to go from 80+ hours down to about 12 hours. In both cases it takes 100% of the CPU (8 cores) and a large portion of the ram (8-9+ GB). I believe the performance options are set correctly.
Any suggestions?
Regards,
Jonathan

Hi Jonathan,
I hope you get a good answer from the gurus at ADOBE on this one. I use ProDADS Mercalli V2+ Stablizer in Cs5.5.2 with 4 cores Xeon processor, i suggest you trial it as I have had no issues with the exception of cutting the clip after stablization, do it befor hand. I was thinking of upgrading to 6.1 ?
Good luck

When is Adobe going to fix Warp Stabilizer?

I asked this question back in February but I only got one reply. Warp Stabilizer may provide decent footage stabilization, but it is incredibly poorly coded, especially when compared to Mercalli Pro, or the Edius 7 Pro stabilizer, which I believe is a lite version of Mercalli Pro. One would think that since it was introduced at least 3 years ago (I can't remember if the first version it came with was CS6 or a previous one), Adobe would have troubleshot it and fixed its terrible performance. I mean, we're not talking about a stabilizer that is half as slow as Mercalli Pro. Warp Stabilizer is 14.5 times slower than Mercalli Pro. These are times for one minute of footage, the same footage in both NLEs:
Edius Pro 7 Stabilizer: 29 seconds
Premiere Pro Warp Stabilizer normal analysis and solving: 12 minutes 16 seconds
Warp Stabilizer detailed analysis and solving: 14 minutes 28 seconds
This is on a six core i7 3930k CPU with 32 GB of RAM and two GTX770 cards with 4 GB each (even though WP doesn't use the graphics card for analyzing and solving, only for playback)
And the terrible analyzing and solving times are not the only problem. If you decide to run WP on a long clip, say 13 minutes long, even after the two hours that it takes to analyze and solve, the next time you open that project, be prepared to not be able to use Premiere for who knows how long. I say who knows because about 30 minutes ago I opened Premiere, loaded the project, and it froze completely when it was loading the footage files. For the last half hour, Premiere has been stuck with the spinning circle mouse pointer. Task Manager shows that Premiere has zero CPU usage and about 3 GB of RAM usage. So it's doing nothing at all, just frozen because Warp Stabilizer is one of the worst coded pieces of software not only from Adobe, but from any company.
Putting aside the terrible analyzing and solving times, and the eternal wait next time you load the project, there's the fact that as soon as you use WP on a few clips, or on one long clip, saving times are unbearably slow.
So I'm just asking, what makes a company with the huge resources Adobe has, not only launch a plugin that performs so terrible, but also doing nothing to fix it for three years or more?

In this case, yes, I have a 13 minute long take that I have to stabilize. However, the original footage clip is a few minutes longer, so I'm not trying to stabilize the full clip, only most of it.
I could spend a lot of money on the plugin, but I usually don't have a lot of footage that needs stabilization. Besides, I already have the plugin that came bundled with Edius 6, so I just use that when I need to. However, since Adobe advertises Warp Stabilizer as part of Premiere, and the plugin is absolutely dreadful, it seems to me that it's false advertising. I would much rather use WP in my Premiere project rather than having to load the footage in Edius and then export to a gigantic file to avoid losing picture quality.
As for drive space, I have two 3 TB very fast hard drives that have plenty of empty space. Besides, Mercalli Pro in Edius analyses and solves this long clip in about ten minutes, as opposed to the over two hours WP needs for the same clip. In fact, in Premiere I only applied WP to part of the clip, when in Edius I loaded the original AVCHD clip so I can just do a replace in Premiere and have the same ins and outs.

OpenCL warp stabilizer renders in a small box in the top left corner

Hi everyone,
I have just built a new computer with the following specs:
Premiere 8.1.0 (81) build
i7 4790s haswell-refresh,
16gb Corsair RAM (4x4 DDR3 1600),
Gigabyte Z97MX Gaming 5
2x A-Data SP920 128gb SSD
Sapphire Radeon HD 7750
Windows 8.1 Pro CZ
Now I know this is a very weak configuration compared to other builds here, but I had hoped it would work fine for my amateur Full-HD workflow of clips mostly under 30mins.
The problem is; when I enable OpenCL acceleration, then all clips with warp stabilizer become about 1/4 of the preview window; it carries over to the final render. I have tried this both with the AMD card and without it (having OpenCL enabled with the Intel HD4600). No avail.
Now the funny part is that I used to have this same card running in my previous system; running on an obsolete Gigabyte UD3 with Core i5 750 in it and... IT WORKED! It was with the same Premiere version, running on the same OS. I've ditched that computer just a few days ago, but my new computer has this inexplainable problem.
The build is not the issue, as I had the computer tested and everything is stable with decent temperatures.
I am also having quite a lot of crashes while editing, but I think that's due to the infamous RedGiant suite which as I read on the forums is likely to blame. It's ok, i just need to save often. Would Neat Video be better? Does anybody know?
Another problem is the sluggishnes and lags when my clip reaches beyond 30 mins; I don't think that's ok, my videos produced with EOS M should not be anything demanding for this setup; when I monitor the ram usage, it never gets above 8gb (and yes, I have allowed CC to use up to 13gb of the total ram); also other resources are almost idle during editing.
The sluggishnes and lag is however even worse in SpeedGrade; over there when I move any slider, I need to wait for seconds! It somehow improves over time, but again, I just have an opinion now that this software suite is very very badly made. I am happy I am not using this to make money...
Please correct me if I'm wrong and any links that could help me resolve the problems are super-welcome.
regards,
Jan

Thanks for the report. We believe we have identified the issue and are working on a fix. For now the workaround is rendering in Software mode.
Best,
Peter Garaway
Adobe
Premiere Pro

How to shoot 1080p/60, output to 720p/60, so Warp Stabilizer or zoom/crop has no quality loss?

I'm new to AE, and making a painful transition form FCP to Premiere, so please be patient, I don't understand many of the subtalties of these apps yet. :-)
Also, please forgive the long explaination, I'm having trouble articulating the problem...
I'm shooting in 1080p/60, AVCHD. I plan mainly to output to 720p/60.
The idea being, that if I need to warp stabilize footage, or zoom/crop, I can do so without any quality loss.
I don't want to edit the project in 1080p/60, because if I stabilize it, and it blows up the image, it will result in quality loss. Then when I scale down for final output, that pixilated/crapified footage will be present just in scaled down form.
I don't want the footage to be scaled down first, then, when I stabilize it, I'm blowing up 720p footage (thus defeating the whole purpose of doing this) and once again, outputting pixilated/crappified footage.
What are the steps / workflow to set up Premiere and the stabilizing shots in AE, such that I'm working in 720p, but using the 1080p footage, so that extra resolution is available when I need to crop, zoom, stabilize, etc. the footage... and can do so without any quality loss? It would be great to have that ability to zoom in on elements in post, almost 2x, and not see any loss of quality.
Thanks in advance!
-Jason Wallace

100% positive. There is a family of lesser known Prosumer Panasonic cameras (my particular model is the TM700) that record 1080p/60. It's a 3-chip, CMOS, that genuinly records at that resolution and frame rate. Has audio input, headphone output, shoe mount, zebra stripes, touch screen, good battery life, and a manual focus ring (fly by wire, can be set for exposure, framerate, or focus). Also has very good low light capabilities, that are much better than the published specs would lead you to believe. The firmware is a bit goofy, and was clearly designed by engineers, not people who have ever shot video. For example some things that should be easily accessible, are buried in menus, while other useless "fluff" features are front and quickly accessible.... but if you can live with a few stupid firmware compromises, it's absolutely AMAZING bang for the buck, and well under $1k to buy.
Note: if I'm not mistaken, the camera can only output via HDMI 1080i/60, but for absolute certain the video files being recorded are genuine 1080p/60. (This has lead to some confusion and forum arguements as to whether the camera is actually 1080p/60)
This was one of the main reasons for my moving from FCP to Premiere, as Premiere Pro handles the 1080p/60 AVCHD files, while FCP requires they first be transcoded and inflated to a intermediate codec.
-Jason W

Warp Stabilizer will occasionally choke queueing operation

That's my guess anyway. Yesterday I queued 100+ clips form the same timeline for export; none of them with warp stabilizer. The process ran like a clock. I could get each clip to the queue almost as fast as I could type.
Today I tried the same process except a few of the clips had warp stabilizer on them. The rest of the process was the same and Pr acted like a pig. I had to Force Quit 6 times, every clip regardless of effect took much longer to get to the queue. Frustrating.

When I stabilize a shot that I have in premiere there are two workflows.
I copy the shot in Premiere in the timeline. I then open up After Effects and paste the shot. In the shot comp I extend the length of the composition to give me "handles" then stabilize, add to the render cue, render to the codec that I'm using in Premiere Pro (usually ProRez 422 HQ or ProRez 444) and replace the shot in Premiere. If you know how long your handles are, mine are mostly 60 frames, then it's very easy to re-sync the edit with room for transitions.
If there are multiple shots or layered shots in Premiere I'll marquis select everything involved in the sequence and use the Replace with After Effects Composition option. This gives me an AE comp with all of the shots selected including room for transitions if they are in the Premiere Project. If the shot that needs stabilizing is long I'll Pre-compose it in AE, Add handles in the pre-comp, render the pre-comp in AE and replace usage. If it's just a short shot I'll just let dynamic link take care of the AE project.
I hope this helps. Every project has a slightly different workflow, but in most cases, I'm rendering heavy effects shots in AE and replacing them in Premiere. That's the nature of the work that I do most of the time.

HAS THE WARP STABILIZER CHANGED OR IMPROVED IN ANY MANNER IN After Effects 6.0?

It was quite an improvement over point tracking alone.
Have there been substantial further advances in the Warp Stabilizer in AE 6?
Also, has Mocha AE changed in any manner?
Thanks!
Matt Dubuque

Have there been substantial further advances in the Warp Stabilizer in AE 6?
What would be "substantial"? No, apart from a few minor workflow and performance enhacements there have been no changes.
Also, has Mocha AE changed in any manner?
You still get mocha 2.x, just a slightly newer version, not mocha 3.
Mylenium

The Next Version of Premiere Pro CC - Warp Stabilizer

With the recent post of what's coming in the next version of PPro CC, I was sad to see no mention of Warp Stabilizer. As amazing of an effect as it is, it needs a bit of help. I know there are improvements and fixes that probably weren't mentioned in the post so I'm still holding out hope. We use Warp Stabilizer more than anyone I know. Several hundred times per week. Yes, per week, no exaggeration. Over the last few years, we've built an entire style of shooting around the strengths of this awesome effect that emulates the use of a slider, steadicam and crane all without having to have them. So we've become really familiar with its PROS and CONS.
Here is a short list of SEVEN things that should be addressed with regards to warp stabilizer within Premiere Pro CC to maximize its effectiveness (and yes we did submit multiple Feature Requests for these so far to no avail):
FIrst and foremost and by far MOST IMPORTANT to us - Allow users to create a CUSTOM PRESET with any altered settings that will engage (or begin Analyzing/Stabilizing) automatically when added to a clip!! This is huge. If you double click on Warp Stabilizer with a clip selected, it is applied to that clip and begins the process of stabilizing that clip. However, the vast majority of the time we need to alter the settings of the effect. If we create a custom preset, that's all fine and good, but when we add that to a clip, it does NOT begin stabilizing. Instead you have to manually go into the Effect Controls for each clip and select ANALYZE. Huge waste of time when adding this effect to hundreds of clips. PLEASE FIX!
BUG when saving projects!!! - If this is not a bug, it needs to be fixed because it's awful. - If you have more than one sequence with multiple warp stabilizations added and GPU ACCELERATION IS ENABLED, then after you SAVE a project (or if it auto-saves) when you toggle between the two sequences you are hit with a delay or freeze while the render bar goes from Yellow to Red...and finally back to yellow again. No work can be done during this delay/freeze. The more stabilized clips, the longer the delay. For us, on our larger projects this delay is sometimes 30 seconds to almost a full minute! Once it turns back to yellow, you can toggle between sequences without the delay...but as soon as it saves again...and you toggle between sequences, the delay hits again. If this is a bug, or somehow a result of Premiere Pro's way of CACHING projects after it's saved, then I sincerely hope it's fixed asap. It's awful!
The third is more of a feature request than a fix - Add the ability to set the maximum scale to work WITH the smoothness control so that if you never want your clips to scale more than say 105%, you can set that and have Warp Stabilizer stabilize the clip and adjust the "smoothness" percentage from the default "50%" down to whatever it needs to be in order for that clip to be fully stabilized and scaled to no more than 105%. Correct me if I'm wrong, but this is not possible currently. Right now we have to manually adjust each clip if it is initially scaled too much by dropping down the Smoothness %.
Another great feature would be the ability to manually keyframe the scaling so that if you have a longer clip that starts fairly steady, then needs to be smoothed out a bit more in the middle, before it ends relatively steady again, you can slowly and seamlessly ramp up the stabilization/scaling so that the whole clip doesn't have to be scaled to make up for the misgivings of one portion of the clip.
Minor bug - sometimes when you have extended the length of a clip, the clip needs to be re-analyzed again. However, the "analyze" button is often greyed out. You need to click away from the clip and then click on the clip again to make that button appear again. Nothing big, but still, a small bug.
After Effects Warp Stablizer VFX feature carried over - It would be nice to carry over to Premiere the ability to isolate what in frame is supposed to be stable (sometimes someone nodding their head can trick the effect into thinking that it's the camera shaking). Great to have it in AE, but would be nice to carry over to Premiere Pro CC.
Finally, I've always believed that no matter how cool "Subspace Warp" sounds, it is not as effective as "Position, Scale & Rotation". This SHOULD be the deafult "method" within the Warp's settings. I'd say 95% of the thousands and thousands of clips we've stabilized we ended up switching the "Method" within the settings to "Position, Scale & Rotation" because it either scaled the shot less or created less "wobble" in the resulting stabilized clip. I know everyone shoots differently, and sometimes Subspace Warp is the way to go, but we have stabilized all sorts of shots with great success by simply switching this setting. Granted...if #1 on this list was taken care of we could then easily have this set as our default setting.
Hopefully this list either reaches someone within Adobe that can do something about them or at the very least inspires others to write feature requests and bug fixes as we have. Even resolving #1, #2 and #3 would be HUGE and would save our editors probably 10 hours per week. It's an awesome effect, far better than "smoothcam" on FCP7, it just needs a little love.

CoSA_DaveS wrote:
All good points, thanks for posting.
For #1, you can make this work in AE at least. This tip is from my colleague DanW:
If you make a preset by only selecting the values you change (and not a preset for the whole effect) then it will auto-analyze on apply.
Simplest way: apply WS, make edits, hit UU to reveal changed params, select all "i-beams" in the Timeline, drag them to the Effects & Presets panel.
For #4, you can get manual control over the scaling by setting Framing to Stabilize Only, and then keyframe Additional Scale to taste. At one point we were going to try to automate this, but found automatic scaling to be very subjective as to the best way to handle it.
For #6, Warp Stabilizer will not track areas with zero alpha channel. So you can pre-mask the input to reveal just the parts you want to stabilize. Do this inside a nested sequence, with Warp Stabilizer applied downstream (in the outer sequence). The just-announced masking & tracking capabilities of the next CC version should be handy for this.
-DaveS, Adobe Dynamic Media, Advanced Product Development
Hi DaveS!
Great to hear that you guys are taking a look at this list. Hope it helps make it better. #1, #2, and #3 are by far the biggest time killers for us so hopefully they'll be able to be fixed/resolved within Premiere soon.
Regarding your note about #1: Allowing this functionality within Premiere specifically would be very helpful. Would it be possible to eventually allow Premiere to auto-analyze when a saved custom preset is applied to a clip? I tried it in AE as you suggested, and couldn't figure it out. But realistically we use Warp Stabilizer on so many clips that round tripping literally hundreds of short clips to AE would be just as time consuming as going into the settings in premiere for each one and adjusting the parameters. We usually adjust the method and then adjust the smoothness scale so that it doesn't "Auto-Scale" more than 104%. That's where our #3 suggestion would help. I didn't quite understand how to make a preset of specific changed values. I tried, but couldn't follow DanW's suggestion. Granted, I'm not that great with AE. I really just use it for the Warp VFX's ability to isolate what in frame is stabilized (hope that comes to Premiere one day) and that's about it. And I really only have to do that a couple times per project. Anyway, I'm sure I'm doing DanW's suggestions wrong but regardless, I'm not sure it would save us much time when we have several hundred individual little clips that would all need to be sent to AE. Any hope for adding this auto-analyze functionality (hopefully allowing a custom preset on the whole effect and all it's adjusted parameters) in Premiere CC?
Regarding your note about #4: That is a valid work around for now. I appreciate that thought. Thanks!
Regarding your note about #6: I think I half understand what you described. I'd have to try it. Although, as I said before, the AE way of doing it is ideal and I just hoped that ability to show the tracking points and delete them over time would come to Premiere CC one day. When the next CC comes out I'd love to try this masking method although I think I'll have to claify exactly what you want me to do just to be safe. Is there no hope to port this added functionality that's in AE's Warp VFX over to Premiere's Warp Stabilizer? Again, not the end of the world for us. I'd rather #1, #2 and #3 be addressed inside Premiere Pro CC for now.
Fixing the first 3 on this list would be HUGE time saver for us.
Thanks again DaveS to you and the rest of the Adobe team for looking into this list. Very much appreciated.

Steps to send a clip to AE to utilize Warp Stabilizer VFX then back to Premiere Pro CC

So I use Warp Stabilizer for about 200 clips per project. It's effectiveness has shaped how I shoot. It's awesome. Now there's VFX in AE...Can someone layout the steps involved in the following:
a) Taking a clip from Premiere Pro CC and sending it to After Effects CC (I'm not that versed in using AE having not used it in quite a while)
b) Then how to apply the new Warp Stabilizer VFX (I assume just go to effects>distort>WarpStabilizerVFX ???) ... (if there are tutorials on how exactly to use it, especially detailing exactly how to utilize the new feature of isolating what in the frame is to be stabilized that would be great too)
c) Then how to send it back to Premiere Pro CC. (I'm guessing I just save it and let dynamic link take care of the rest?)
I've tried right-clicking on a clip and selecting "replace with AE composition" (is that what I should do?), then applying the effect but I get a "warp stabilizer VFX analysis doesn't work with Collapse Transformations" message so I stopped. If it makes any difference, the majority of my footage is shot at 60p and then interpreted and edited at 23.976fps. Thanks!
NOTE TO STAFF: I've said it before and I'll say it again as someone who uses warp stabilizer several hundred times per week, I still think the default "method" in the settings should be "Position, Scale, Rotation" instead of Subspace Warp because it works FAR better (less wobble and less scaling about 90% of the time). Can't help myself I had to bring that up again here.

a) Select a clip in PrPro timeline, right-click and choose 'Replace With After Effects Composition'. Take care of handles if you might need them (that's rather general tip).
Warning about Collapse Transformation switch indicates that you have 'Scale to Frame Size' option enabled for your clips in PrPro timeline. If that was done intentionally, you can simply toggle the Collapse Transformation switch (small sun icon) off. If not, rather disable 'Scale to Frame Size' for your clips in PrPro timeline.
b) Quite a boring but covering almost all necessary details tutorial on basic work with Warp Stabilizer in AE CC from Adobe TV:
Some advanced techniques from Lynda.com
and Mathias Möhl:
c) When you're happy with your work in AE and going to lock it, render a digital intermediate out of AE, import it into PrPro and replace your dynamically linked composition in the timeline with that DI (see this good old thread on Dynamic Link workflow, pay attention to Todd's comments).
If you leave the 'Include Project Link' checkbox in the Output Module Settings dialog enabled while rendering your DI, you can easily get back to appropriate AE project so as to maybe tweak some settings: just select your DI in PrPro timeline, right-click and choose 'Edit Original'.
Mind the bloating issue, keep the amount of applied Warp Stabilizer instances in a single AE project reasonable.

Premiere Pro CC's Warp Stabilizer BUGS...see for yourself. (7.0.1 & 7.1)

I'd love to hear from Adobe Staff on this one. Hopefully they can focus on fixes over features for the next update, especially for one it's most touted effects.
Warp Stabilizer works great at stabilizing clips in Premiere Pro CC...but I'm beginning to learn that it's quite buggy. The two bugs below simply cripple the user experience when you use the effect a lot like we do. Here's a link to a sample project with just 2 clips (around 1 minute in length each) on two separate timelines with each clip stabilized using the Warp Stabilizer effect. It's only a sample/test project meant to show the issue which can be MUCH larger in a longer/bigger project. Relink to any longer media and you'll quickly see what happens when you have multiple warp stabilizers applied to a Premiere Pro CC project and how problematic it can be.
https://dl.dropboxusercontent.com/u/105331144/Warp_Stabilizer_SAMPLE_Project.prproj
See for yourself.
Two VERY Annoying BUGS and One Unfortunate Feature:
BUG #1: (It affects 7.0.1 and the new 7.1 Release/Update)
1) With GPU Acceleration Enabled and both sequences open, once the timeline render bar has turned yellow, hit save.
2) Now toggle to the 2nd sequence and you'll notice a delay/freeze as the render bar switches back to red and then yellow again.
3) Now toggle back to the other sequence and you have the same thing occur. Then, you can toggle back and forth with no delay...until...the project saves (or auto-saves) again...and then the delay/freeze will happen all over again.
4) Side Note: Even when you right-click on the sequence in the Project window, there's a delay. Right-click on a sequence with no Warp Stabilizers and the drop down list pops up immediately.
What's the Big Deal?: When you have tons more warp stabilizer effects applied to multiple sequences, not only does it take a while to save, but when it does, you are forced to wait while Premiere Pro freezes momentarily. This affects AUTO-SAVE too!!! The more warp stabilizers, the longer the wait. Our sequences have delayed up to 30-40 seconds depending on how much we've used warp stabilizer in each sequence. Imagine if you have Auto-Save set to every 30 minutes or less, well that means that every 30 minutes or less you'll be forced to stop while premiere freezes up for 30-40 seconds or so (depending on how much this effect is used). Other effects do NOT have this issue.
BUG #2: (It affects only the new October Release/Update of Premiere 7.1...this issue is NEW and does NOT occur in 7.0.1!!!)
1) Take the above project into Premiere Pro CC 7.1 (again, this does NOT occur in the previous 7.0.1 release) and hit FILE>EXPORT>Media.
2) You'll notice a delay while the EXPORT SETTINGS popup opens.
3) Toggle to different "FORMATS" in the export settings window and there's more delays every time the format is switched.
What's the Big Deal?: Again, this is a small sample project. When you have a much bigger project with lots more Warp Stabilizers applied to many more clips this "delay" can extend up to several minutes!!! Yes, on a recent project over an hour with MANY warp stabilizers applied to lots of clips, it took 7 minutes for the Export Settings window to pop up after hitting EXPORT>Media. And there was about a one minute delay now when switching formats. This occurs whether GPU Accleration is enabled or not. It ONLY occurs on Premiere Pro CC 7.1
UNFORTUNATE FEATURE #1:
We obviously use Warp Stabilizer A LOT. It's a great effect. The above bugs cripple the user experience. This last issue isn't a bug, but rather a default setting on Premiere Pro's warp stabilizer that should be changed. Within the settings of Warp Stabilizer there's a section called "Method". The default setting is "Subspace Warp". That sounds pretty cool. But in practice, and we have had lots of practice (eg. THOUSANDS of clips stabilized in just the last few months alone (no exaggeration)), we've found that switching the default method to "Position, Scale, Rotation" is a MUCH more effective way to stabilize a clip. Most of the time it cuts down on that "wobble" that you might see in complex moving clips...but more importantly, 9 out of 10 times it crops the video either the same or less than when you use the default method. By "crops less" I mean that the "Auto-Scale %" is less. Of those 9 times, I'd guess 7 or 8 of them would crop in on the video less while the other 1 or 2 times there would be no change to the Auto-Scale %. Less scaling = better.
What's the Big Deal?: Well, as cool as Subspace Warp sounds, our numbers don't lie. Again, we use this effect on HUNDREDS of clips every week. When you have to go into hundreds and hundreds of clips every week and keep switching the setting so the effect will work better, it gets old real fast. We end up wasting so much time doing this but it's worth it because the results are undeniable. Why not create a CUSTOM PRESET???! Well, that'd be nice if it worked...but it doesn't. The problem with a custom preset like that is that when you drop it on a clip, it doesn't activate/analyze the clip automatically so you have to manually go into the settings and hit analyze which negates any time saved. It's be great if the default "method" was simply changed to Position, Scale, and Rotation. Or at the very least, it'd be great if one could create a custom preset that would automatically activate/analyze the clip it's dropped on (just like the original effect does).
(BONUS FEATURE: It'd also be nice to have the ability to set a "max scaling %" too so you never crop in more than a preselected amount...but first things first...fixes over features.)
NOTE: I'm on a 2011 suped up iMac running OSX 10.8.5

[r]Evolution wrote:
Would it help to Render these Warp Stabaliized clips instead of leaving them in the sequence w/ the Effect applied?
Any way to "Batch" Warp Stabalize your media before editing so the effect is not needed during the edit?
Sounds like you guys could benefit from having your shooters use a "Stabalizer".
Thanks for the rendering tip rEvolution. Rendering the clips does help with BUG#1, however, I'm not sure if it would truly save us any time because of the constant need to render and rerender tons of very short clips with this effect as we make adjustments to the edit. Warp Stabilizer is GPU Accelerated so playback is really smooth which is great but why does saving a project have any effect on this and cause it to freeze up? And then it works great...until the next time the project is saved. Using any other effect, there is no issue (that I've found) when a project is saved or auto-saved.
Rendering unfortunately has no effect on BUG#2 in Premiere 7.1 (again, this bug/issue did not occur in Premiere 7.0.1)
Regarding "batch" stabilizing...I'm not entirely sure what you mean. We do stabilize dozens of clips at a time before editing because it's imperative for us to know which clips (the sections we've pulled) will stabilize effectively. And then once the longer edit is complete we end up pulling all the best shots from that long sequence and copy/paste it to another sequence to make a 2nd shorter edit.
To say we've gone back and forth about the use of stabilizers would be an understatement. The fact is that we've spent almost 4 years creating a unique way to shoot based almost entirely around the effectiveness of warp stabilizer. It's taken years of trial and error but our style of shooting effectively allows us to mimick and thus replace the need for stabilizers, sliders and cranes. The extra freedom allows us to get MUCH more varied coverage of live events. It's different, I know, but it's fun and rewarding having a unique style. Granted the extra work is passed on to the editing side, but it's worth it IMO especially if these issues were addressed/fixed.
Regarding the "unfortunate feature" I mentioned, I would be satisfied knowing the default method works great for others if one were simply able to apply a custom preset of the clip with the adjusted method and it activated automatically and began analyzing the clip without the need to manually go into settings and hit analyze. That would be nice.
Thanks again for your input.

FR: Big yet incredibly simple improvement to Warp Stabilizer

I love the Warp Stabilizer effect in PP. It's great! But depending on the footage and the effect's settings, sometimes it can actually make things worse. This means that any time this effect is used, users must review of the results after the effect finishes analyzing the clip.
Here's the problem:
Analysis takes a long time, often far too long for a user to stop editing and wait to review the results. In my case, I keep editing, but often I forget where my stabilized clip for review is located. In a multicam sequence, where every video clip occupies the same track, there's little to no visual cues to remind me where the Stabilized clips are. Setting an in and/or out point as temporary markers can work if you have up to two Stabilized clips. But what if you just stabilized 5 clips, and you want to keep editing while they're being analyzed? How do you visually recognize which clips they are? All current solutions add work for the editor, such as moving stabilized clips up a track and then back down after approval of the effect's results, etc. If you have transitions between a Stabilized and an adjacent clip, or clips on a track above it, the situation gets worse.
Here's the (incredibly simple) solution:
Give us a visual color cue any time a clip has the Warp Stabilizer effect added to it! This could be done through a new user selectable color category in the Preferences window's 'Label Defaults' panel.
It's interesting to note that while 8 different colors can be set in the Label Colors tab, only 7 are currently used by PP in the Label Defaults tab, so setting a unique color to this new eighth item should be even easier to program.
Adobe, this would make a great little addition to your next PP update!
What do others think?

Jim Simon wrote:
Your request calls for easy visual recognition of that one effect, mine calls for easy visual recognition of any effect, which I feel would be far more useful to far more editors.
Be as it may, even though I highly doubt that editors need an easier way to determine which clips have any effect applied in general, WS clips would still have to have a different color, otherwise editors wouldn't be able to differentiate WS effects from any other old effect that simply does not require the editor pause or return later to see the results. I've explained this pretty clearly but it seems you're determined to not get it.
Jim Simon wrote:
Or, if you don't want to wait for the effect to finish, add it after editing, as most editors do with most effects anyway. Then you'll have the time to wait to see the results.
Adding effects is part of editing, or isn't it? In case you don't know, editors work differently. If I want to add effects as I do my cuts, what's wrong with that? The software should be intelligent and flexible enough to accommodate a user's workflow. And if it isn't, then it should be improved. If you're an advocate against this kind of progress and think users should adapt to and accept a programs limitations, rather than speak up, which version of Premiere are you using? 4.1?
Jim Simon wrote:
Mark them, as you can do now.
The whole point of this thread and FR is for Premiere to remove steps from our workflow! Still don't get it, do you?
It seems that every time I expose a limitation in Premiere or an area for improvement, you suggest that I should change my workflow rather than have the software improve in a way that could benefit countless other editors. At this point, I really have to ask... what's in it for you Jim? What's your point?
"Then you'll have time to wait to see the results" Is that what you do, wait 10 minutes for a long clip to finish analyzing so you can see the WS results? You're just sounding more and more ridiculous IMHO. It would be nice if overall you made more intelligent contributions to my threads.
Frankly, I'm getting tired of this nonsense Jim. If you have something intelligent to say, please, by all means. If you don't, please stop diluting the message of my threads with your nonsense arguments/comments. If you want all clips with effects applied to them to be labeled with the same color, and thus make WS clips visually indistinguishable (which is the current problem I'm asking Adobe to fix), go ahead and start your own thread.

Yet Another Workflow Question

Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

Applying Warp Stabilizer transitions?

I have some experience with warp stabilizer in After Effects.
After having watched the Warp Stabilizer tutorials for After Effects (thank you to community for links)
After Effects Help | Tracking and stabilizing motion
REMOVING TIMELAPSE CAMERA SHAKE: ADOBE PREMIERE TUTORIAL - YouTube
and having played with them in Premier Pro, I find it does a great job of stabilizing the time lapse footage. However, I still notice a slight jerk during the transition from one daily video to the next because each video/day is stabilized independently of the next. The video does not move much from one day to the next so this would only be a few pixels, but it is still noticeable. Is there a way to create a "stabilizing transition" from one day to the next so that in the last 2-3 seconds of the video, the warp stabilizer shifts the image to align the last frame of day one with the first frame of day two? Can I have to trick Premier Pro into doing this by placing the first picture of the second day into the folder of pictures from the first day or is this more painful than necessary? Is there a way to drag and drop a Warp Stabilizer effect across multiple videos in the timeline at once so that the cropping and rotating is done while considering all of the video files? I realize this could result in significantly more cropping than if each video was stabilized individually..
I would prefer to not have to place all of the images in one folder as I would have to rename them for the Import Sequence function to work properly and because there are about 5 months worth of daily folders.
Schwizer

There is no KBSC for adding an effect to a clip.
If you want to add the warp stabilizer (or any effect) to all clips in the timeline: select all the clips and double click on the effect.

Few Warp Stabilizer workflow questions

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