I-Frame Only MPEG in premiere pro cc

please help........ I dont have I-Frame Only MPEG preview file format in sequence settings. It is set to Microsoft AVI. I want to set it to I-Frame Only MPEG.

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Project will not render with 'I-Frame only MPEG'

Hey Adobe, I am posting this at your request.
I previously used to have an old Intel Core2 chip system.
I upgraded this so that my video editing life would be faster. I have a new motherboard, with a new intel I7-4770 @ 3.5Ghz chip. same memory (16Gb-1600), graphics card, hard disk, DVD drive, etc..
On the Core2 system, video projects which I worked on all worked fine. I mainly use a Sony Z5 to shoot video which creates .M2T files.
On my old system, running Premiere CC it ALL WORKED - no problems, but on the new build, it crashes EVERYTIME i try to render, with 'Error Compiling Movie - Unknown Error'
Having spent FOUR hours on the phone to your tech supports in India, they came up with a workaround. I stress - it's a workaround, not a solution.
They found that if i changed the sequence to be 'Custom' and then selected 'Microsoft AVI' (and any Codec, doesn't matter which) as the Preview File Format instead of 'i-Frame Only MPEG' then yes - it renders.
The tech told me that this was because 'M2T' files were fussy, and needed to be treated like this.
WRONG!
if this *needed* to be the case, then why did it work previously on my old system without any problem?
Also, if I take a project that crashes on my desktop PC, and copy it over onto my laptop, de-activate Premiere on my desktop and activate on my laptop and run in on there .. IT RENDERS FINE, using the 'I-Frame Only MPEG' setting.
Also, i shot some video with a Nikon D5100 which produces full HD .MOV clips, *AND THE SAME PROBLEM STILL OCCURS* when rendering on my desktop PC, and only renders when i switch the Preview File Format to be 'Microsoft AVI - so it's not related to the .M2T video file type.
So I can render stuff, but ultimately it's a workaround and not a solution, as when I am finished with a project, and want to archive it off I do so by exporting and choosing 'Match Sequence Settings', with with Microsoft AVI selected, it wants to therefore obviously export it as an AVI, which i do not want - I want to export it as 25mbps MPEG which is the original quality/format that it was shot at. When i try and do this with 'i-Frame Only MPEG' selected as the sequence type - you've guessed it, Media Encoder crashes
So. Why does i-Frame Only MPEG work on one machine (my laptop), but on my main machine (desktop) which i want to use, it doesn't? What piece of software/codec/file am I missing?
- i have installed from clean build of Windows
- i have deactivated and reactived Premiere CC
- i have uninstalled Premiere CC and reinstalled it
- i have uninstalled all Cloud CC programs and reinstalled them
- I have run CC cleaner too
- I have the latest video drivers for my graphics card (it is the same graphics card that worked just fine on my old system anyway, so is not the issue)
- I have full Windows/Admin permissions. it is not a permissions problem
please don't suggest any of those options. None of them work. I need someone who understands your software and knows what i-Frame only MPEG is to be able to tell me why it isn't working on my system. I am now past the point of anger (because i have lost several days worth of worktime - and thus money) and being upset (because it's massively frustrating when somthing that previously worked now doesn't), and am now just at the point of being bewildered that no one there can seem to tell me what is going on here, and how to solve it.
Many thanks,
Geoff.

I have to put in my 2 cents...and first of all I'm sorry things are happening that are not FANTASTIC results... etc... but there may be ways to make things better... but this stuff is complicated and extremely computer intensive ( math stuff with cpu and ram and stuff ) .. so the platform is very critical to best results.. not just the software.
There's books on compression and how that stuff works ( lossless or not ) and it's all about changes from frame to frame and how to best make file size smaller while keeping every single pixel perfect in each frame... and this is unfortunately not standardized on planet earth. Different companies make up what they can to sell cameras and recording medium and so on.. there are some standards ( for broadcast and movies etc ) cause at some point some groups have to deal with delivery to PEOPLE to watch stuff.. and have decent quality to watch...
In general this is very complicated and full of problems cause there is no single work flow , and probably never will be .
What Jeff is talking about ( I think ) is that during the process of a computer program interpreting images ( frame by frame ) those pixels that have not changed a lot are described in a line of code by the software that says, " This stuff has not changed much if at all ". Some stuff from one frame to the next one DID change a lot ( someone walking or someone running.. the running changes more fast ) .. and so lines of code say , " this stuff changed a LOT "....
During the process of the software to determine what changed and how MUCH changed.. is complicated.. cause the program basically looks at frame A and then Frame F and notes the changes of pixels... and THEN ( as if that wasn't complicated enough ) the program then goes BACK to frame A and then ahead to frame J ... so now it has expanded it's look at what changes have occurred...
Now the ' CODEC " ( the specific codec used by the program you are running , like CC or avid or FCP ) is going to make it's best GUESS as to what really changed that matters the MOST to the image...so you basically get a nice image from A to J ..... but it is now compressed and taking up less room on your hard drive and ram etc....cause it is interpreting the image changes... and so on...
So if you had every single frame without any guess work and no compression to save space cause those pixels did not change between A and J .... you would have HUGE FILES .... and no benefit in terms of being able to edit anything on a little home desktop computer... even if you have a really powerful one.. it is not going to be good enough to do that stuff....
It would be unfair to say that adobe isn't doing the best they can to accomodate all the camera manufacturers " codecs " and give the best results they can , with a million different computer platforms and hardware out there you can buy off the shelf ....
The I frames and B frames and other frames have to do with the " guessing game " of changes in pixels, changes with every " action " in those ranges of frames, and is very complicated... but there are books about it and what standards exist can be researched and studied if you're into that stuff....
I am an idiot about this stuff but the main thing is dont give up.. and just try to be patient when things dont work out like you thought they would, and figure out what is going on so you can make things work the way you want...
and good luck !

Importar archivos mpeg con premiere pro

Como se puede importar archivos mpeg con premiere pro, estoy probando premiere pro cs3 y no veo la manera, sin embargo con una version antigua del mismo producto premiere pro V.07 si se puede.

como puedo capturar archivos en contenedor AVI,pero comprimidos en MPEG2 Intraframe; además audio y video están por separado.
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How to encode 50 MB constant bit rate I Frame only MPEG-2 Program Stream

I want to do a test upload to a digital programme delivery service. I'll be encoding a short clip for FTP upload.
The specs the company sent says material should be encoded as follows:
"50 MB constant bit rate I Frame only MPEG-2 Program Stream direct from digital source."
Can anyone translate this into Compressor settings?
Material also must have timecode.
Thanks

50MB constant bitrate? I hope you meant 50 Mbps... hehe. Hmmm... 29 Mbps seems to be max, using Compressor.
To get a constant bit rate (CBR), choose One Pass CBR under the Quality tab in the Inspector.
I am not sure if Compressor can do I-Frame only, but it can give you an IP GOP structure. Setting the GOP Structure to IP, and the GOP Size to the lowest possible gives you the best possible quality, but also the largest file size.
For audio, choose AIFF, and make sure it gets the same name as the .m2v, but of course with the right .aif suffix.
To make an MPEG-2 Program Stream, you need to use MPEG Streamclip (freeware).
Open the .m2v file in MPEG Streamclip (the audio should automaticly load with the video file if they have the same file name). Choose the file menu and choose Covnvert To MPEG Using MP2 Audio.

50 MB constant bit rate I Frame only MPEG-2 Program

'50 MB constant bit rate I Frame only MPEG-2 Program'
What does that all mean, and how do I go about to find all these settings?
It's for a commercial.
Niel

You're going to have a much easier time doing this in Compressor 3 than in 2, but what I'm assuming you're talking about here is a Program stream (multiplexed file) very similar to a transport stream.
These MPEG-2 encoded files are used for broadcast and have both the audio and video contained in one file as opposed to DVD which requires those assets separated into elementary streams.
If you're using Compressor 2, create a custom MPEG-2 setting and in the extras tab of the Encoder Pane select the Multiplexed option. Note though, that you will only be able to take the bit rate up to 20Mbps and it will only create a transport stream.
In Compressor 3 you can choose between Program and Transport streams and you can increase the bit rate up to 40Mbps.
BG

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I can't figure out how to cut out an oval facial shot in Photoshop and then import it(only the oval) into premiere Pro 2.0 to be used as part of a "Cast" timeline with moving background and hopefully a revolving name.

hopefully a revolving name.
Harm has given you the clue for the oval. You can also use Track Matte Keying to "limit" the view of the image, but the Alpha Channel is easier and quicker.
Now, for the revolving name, you might want to look at the 3D Effect. If that doesn't do it for you, BluffTitler, and ProDAD's Heroglyph have plenty of presets to do similar.
Good luck,
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Hello,
I have finished a long project in Premiere Pro and the original idea was to use the "Edit" > "Edit in Adobe Audition" > "Sequence" to export all my 14 tracks to make tweaks, fixes and the final mix in Audition CS6.
Turns out the "Edit in Adobe Audition" is absolutely useless in this specific case because the .xml export format from PP to Audition will only allow to save the new Audidion project in 16-bit, 48000Hz Stereo, but all my original sound is 24-bit, 96000Hz Stereo. I could obviously live with the 48000Hz limit but not the 16-bit (which by the way makes me wonder if and how Adobe plans to make pros use Audition for a final movie mix).
So I'm stuck with the need to render all tracks from PP to do the mix elsewhere, maybe even importing it back into Audition. Since all my audio is wav 24-bit \ 96000Hz, is it the best lossless way to export as wav selecting "Uncompressed" for "Audio Codec" and using the same sample rate and sample size from my original files?
In case that's the best way to do it, are there any issues I should be aware of in case I decide to export it in 32-bit float instead, if necessary to use some features in Audition or other soft?
Thanks a lot.

Thanks, Jim.
Furthermore: due to the same .xml issue, I have rendered a few tracks from PP using the same method, imported them into Audition to do some fixing, then rendered out from Auditon again and imported back into PP.
If I render again from PP to do the final mix, I'll be on my supposedly fourth genereation of the files and my final mix will be the fifth.
Do we lose any data every time we render even if we use the settings as the original files?
Thanks a lot.

I cannot see the text while typing unless I press space bar or enter. This problem only happens on Premiere Pro CS6 and Final Draft 9.

The word just doesn't show up unless I press space bar or enter. This just happens on script window in final draft 9 and title window in Premiere Pro.

Graphics: NVIDIA GeForce GT 120, NVIDIA GeForce GT 120, PCIe, 512 MB
That card is under-powered for the hardware-accelerated Mercury Playback Engine. If you've tried to get it working with hardware MPE, then that's a likely cause of the crashing. Pr needs at least 1 GB of VRAM for hardware MPE. Stick to software MPE and things may improve.
Jeff
PS - thanks for self-editing the crash log. Too many times users will post the entire log, which makes the discusssion unreadable for anyone but a software engineer.

Image only slideshow in premiere pro cs5.5

Hi all,
Newbe question. I want to create an image only slideshow but not sure how to go about setting this up. All the sequences are set up for use with video (as i would expect).
I guess what I'm asking is what default sequence settings should I use and what size should I crop my images to before importing them into premeire pro. If it's make any difference i will just be creating video's to go on youtube.
Thanks in advance
James

You're welcome.
There are 7 more very informative videos on the same page...
a quick crash course for people who are unfamiliar with some
of the basic functions that make your editing life much easier.
Frequently Asked Questions

64-bit only goodness for Premiere Pro CS5

'nuff said.
Check out my initial blog entry for some of the info and links:
http://blogs.adobe.com/genesisproject/2009/10/its_official_64bit_is_the_futu.html#more

And under the "Support for 64-bit Operating Systems" section of this FAQ:
http://www.adobe.com/products/creativesuite/production/faq/
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EDIT: Dennis' blog has links to both of the sites I referenced.

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How do I retain the original video frame size in Premiere Pro?

I have imported a video file (MPEG) to Premiere Pro but it seems to crop the image so part of the picture is missing. Is there a way of retaining the original frame size? Thanks!

See 2nd post for picture of NEW ITEM process http://forums.adobe.com/message/3776153
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So match frame works in CS6, but in Premiere Pro CC, there are a couple odd things happening for me. When pressing F the Source panel will exibits any one of a few different behaviors (seems entirely random):
1. A black frame
2. The correct clip, but not the correct (matched) frame.
3. Occassionally the correct (matched) frame (usually only the first time I use Match Frame on any given clip in my sequence). All subsequent Match Frame commands while on the same clip in the sequence will not update to match Source with Program, they'll either stay on the first matched frame for that clip, or go black.
You can still drag the audio (or video) portion from the Source panel to the timeline and it will be the correct portion of audio (or video), but actually "matching" a frame seems broken in Premiere Pro CC (again, it works in CS6).

Right. That much is understood. However, what I'm experiencing is different. I've determined it is only happening to some clips. Others work as intended (as you've described). I wish I had time to get sidetracked today and post a video of what's happening. It'll have to wait until I'm wrapped up with my current multi-cam project (due last week).
I know, I know. My bad for using Premiere Pro CC on a real-world project with a real-world deadline. Lesson learned.
In the mean time, if anyone wants to try reproducing this bug, here's what I know about my footage:
h.264 footage MP4, MOV shot on a Canon EOS 7D. No external audio recorder, just a mic on top of the camera, plugged into the camera.
Most clips work properly with Match Frame. Some do not.
Interestingly, the clips that have the problem are the SAME clips that do not have the problem (once on the timeline, is there a way to tell which is a subclip, merged clip, etc? Probably. No time to investigate. I shouldn't even be spending time writing this post. lol.)
Play around with different clips and subclips of the same clip on the timeline. I believe what I have going is several subclips of the same clip on the timeline. Unless I missed one or two, I've set them all up with "soft" handles (new feature in CC).
Perhaps what is happening in the "black" Match Frame clip is that the Match Frame is saying, "OK, we have a subclip on the timeline that starts at 0 seconds and 14 frames. So then when I do the match frame (of this "soft" subclip) the software is saying, let's find this clip and jump to 00:00:00:14 of the master clip and place it in the Source monitor.
Is this a bug? I'm not sure that's what is happening, but hopefully that gives someone else a starting point to try to reproduce the behavior.
I'll post a video if/when I can.

Adobe Premiere Pro CS4 4.0.1

An update to Adobe Premiere Pro CS4 will be available via Adobe Update Manager shortly. The file will also be available for download tomorrow (November 20) on Adobe.com, as will the readme (at http://www.adobe.com/support/documentation/en/premierepro/releasenotes.html). In the meantime, here is the text of the readme.
We're really excited about this update, especially considering we released CS4 just one month ago. To force an update, choose help --> find updates from any Adobe application. The AME update that releases with this update is required as well.
Important note: if you are using the Elemental Technologies RapiHD plug-in, you must update to the latest version in order to use Adobe Premiere Pro CS4 4.0.1. You can update the plug-in by visiting the Elemental Technologies web page: http://www.rapihd.com/?q=node/129
New in this release
- OMF export
- Final Cut Pro import
- Edit in Audition (Windows only)
- Surcode support
- AAF import and export
- High quality motion
- Third-party support
Notable fixes
- Attempting to trim locked tracks results in a crash (#1888355)
- Crash on Win and error on Mac when using Numpad-Asterisk keys to generate marker when
playing in Program Pane when Effect Controls pane is closed (#1890626)
- Crash when the Metadata panel is brought into focus when a DVCPro HD clip is selected
(#1884633)
- When a filter/search is applied in the Metadata Panel and then a different asset is selected, the
filter does not update (#1876954)
- Custom schema causes Adobe Premiere Pro to crash performing many basic operations,
starting with New Project (#1888938)
- Render of transition in imported EDL-based sequence fails; on Mac, causes application to hang
indefinitely, user must be force-quit application (#1873434)
- After ASND is saved, an effect is always ON if it turns OFF while playing (#1864978)
- Crash when attempting to load a project that contains a composition if headless Adobe
Premiere Pro is serving Adobe After Effects (#1871578)
- Exporting video as MPEG 4 will create a video file that imports at the incorrect length
(#1851063)
- Trimming both ends of a clip, then moving the clip will cause looped playback to be silent, or
only playback portions of the clip (#1868409)
- When exporting a timeline containing cuepoints, deleting a cue point via AME Batch-> Export
Settings, the cue point is still present in the output file (#1866690)
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- Adobe Premiere Pro allocates too much memory and reads too much data from disk when
loading project files on the Mac (#1890579)
- With camera connected, opening clip from Timeline into Source and selecting File  Debug
results in a serious error (#1889197)
- Export to tape is active from DVCPRO HD sequences (#1863718)
- Application intermittently crashes when exporting a movie (#1868405)
- Render and Replace of offline clips takes over 20 minutes (#1885273)
- Application crashes when cancelling Normalize Audio Track dialog (#1887615)
- When an AVCHD clip is inserted into a DV timeline with Scale to Frame Size applied, rendered
previews of the clip show artifacts during Timeline playback (#1863988)
- Using scale to frame size in a timeline lowers output quality and softens detail and sharpness;
typing in scale attributes manually or using Adobe After Effects produces much better results
(#1527669)
- Multiplexed MPEG files exported to HD size and then imported back in to Adobe Premiere Pro
show up as 601 color space instead of 709 color space and hence the colors of the imported
files are off (#1852977)

Other users have reported having trouble with VOB files from DVD recorders. Properly authored DVDs work.
Where did you get the VOB files that won't work for you?
-Jeff

Premiere Pro CS4 added contrast H.264 preview files

Hi,
Any help I can get with this problem would be amazing.
I recently updated my OS to 10.6 as there were programs I wanted to run not available on 10.5, however this caused other issues with Premiere that I couldn't fix so I just decided to go back to 10.5. With both installs I reformatted the hard-drive then installed the OS. Now that I've reinstalled OSX 10.5 and updated to the most current version, and then installed Premiere Pro CS4 and updated that to the most current version (4.2.1) and also updated the codecs for Premiere, I'm having an issue with my preview/render files in my timeline that I never had before. It appears that now when I render my original H.264 files the preview/render files have added contrast/crushed blacks and blown out highlights.
Basically I'm editing H.264 footage from a DSLR, and when I open up a project that I was working on before I began this upgrade mess it opens correctly, but if I extend a clip in my timeline to include part of the original clip that was not previously rendered, Premiere renders this clip with what appears to be increased gain and pedestal/increased contrast. I've also tried this in a new project and it still renders with much more contrast than it used to. Whether in a new project or previous project, Premiere seems to decrease pedestal so my blacks are around/below 7.5 IRE and my whites are at/above 100 IRE. it looks really messed up when this occurs in the middle of a clip that was half rendered before and half after the install. Also I'll bet it's not going to help when it comes to color correcting and it looks like I could be losing image data.
I don't know what has caused this as it was working properly before my attempted upgrade, and I installed Premiere the exact same way as I did the last time I installed it and I'm using the same version. The only hiccup was after the install and upgrade it said media offline on my old project until it asked me to update codecs, once codecs were updated it displayed all footage in my timeline correctly and then I noticed that I could no longer render preview files to the same standard.
Here are screen shot comparisons of a video from my timeline. These are back to back frames, the top one was rendered before the most recent install, the other rendered after. I have put a YC Waveform chart beside the image. Sorry I think the best way to see it is just to follow the link otherwise it's gonna be too small.
http://www.flickr.com/photos/86776146@N03/8101475154/sizes/l/in/photostream/
Also here is a screenshot of the settings I'll describe below.
http://www.flickr.com/photos/86776146@N03/8101463115/sizes/l/in/photostream/
Computer:
Mac OSX 10.5.8
Intel Core Duo
Premiere Pro CS4 (4.2.1)
Project Settings:
HDV 720p
29.97 fps
1280 x 720
square pixels
30fps drop-code
I-Frame Only MPEG (video codec)
I've already searched for a solution to this but come up with nothing. I read a bunch of stuff on the increase in gamma that can happen with .mov files but I don't think this applies to my situation as I would have been having that same issue with my previously rendered footage.
Anything would be really helpful...Thanks
Message was edited by: Mike542

Okay so I've been looking into this in depth over the past few days and I haven't come up with a lot. I have noticed that it's not just the render files but also the inspection window where the clip displays in this manner. It looks like the luma range (as seen in YCbCr scope) is being limited between 7.5 and 92 IRE and I think this is maybe a good indicator of the problem. Why this is happening I don't understand. On my clips that were previously rendered in this timeline there is full range from 0 to 100 in the luma from the YCbCr scope. These files were rendered to an external drive from before I reinstalled Premiere, so it's any h.264 files that I am using after reinstall that are having this issue. I have attached another screen capture illustrating this (look at line to right of scope showing full luma range). Also I have some .mts files from another camera and they import with full luma range as well.
http://www.flickr.com/photos/86776146@N03/8114886495/sizes/l/in/photostream/
When playing my h.264 files in Quicktime or VLC they look about the same in terms of blown out whites and crushed blacks. Does Premiere rely on Quicktime for its h.264 codec or does it have it's own? Is there a way to force premiere to update its codecs/manually download and replace the h.264 codec?
I really can't understand what's happening here and I can't do any work when imported clips are this messed up. Can someone please help out on this!!! Super frustrating and seems to constantly happen with Premiere...

I-Frame Only MPEG in premiere pro cc

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