Interpret footage settings not reloading.

Hey dudes!
Working on a commercial shot on F55 and DSLR as B-cam with mixed frame rates and I have used "interpret footage" to speed up or slow down certain clips.
Now I know that this is an issue reported previously and I also am familiar with "preserver interpret footage settings". However, when I load the project, no re-linking is required and the project just loads right up so I don't get to choose that option. Now I can go through and set all clips to offline (which is a real pain in the nuts as all source clips are organised into separate bins) but even then I select re-link > "preserver interpret footage settings" and still have no joy. This is really slowing me down and it's a big-*** client with a big-*** budget and and a tight dealine so if anyone can help me with what dumb thing I'm missing and save me looking like a tool any further I will seriously owe you a big high fives all round
Thanks in advance
Kraig.

To the best of my knowledge, this only happens when opening a project on a different machine. How often are you doing that?

Similar Messages

PPro CS4 not holding "interpreted footage" settings

I have a project underway which had a combination of footage (given to me) in both 1440x1080 and 1920x1080 (all AVI files).
I have used "interpret footage" to correct the ratio on the 1920x1080 footage and looks fine. Done my edit.
I noticed on exporting that the aspect ratio on the interpretted footage exported incorrectly.
Every single time I re-open my project some of the interpretted footage has returned back to original aspect ratio. Sometimes it has not. The inconcsistency alone is annoying as I cannot fathom a logical answer.
Sometimes only some have reverted back to original aspect ratio. The 1440x1080 stuff is fine.
Can anyone explain this as I cannot export or fix it.
The only extra info I can give which MAY be significant is that in Windows Explorer, when a clip is highlighted, it says the ratio is 1440x1080, but when imported into PPro CS4 it says 1920x1080 - which I cannot explain.
All other preferences and settings are holding fine, just the "interpreted" footage.
Any help appreciated.
Setup is:
Premiere Pro CS4
Windows 7
32 Bit Operating System
4GB RAM
INtel(R) Core(TM)2 CPU 6600@ 2.4Ghz 2.39 Ghz
Geforce 7900 GS 256MB graphics card
Thanks in advance
Ricardo Lacombe

Very strange.
Did you install the latest update?

CS5.5 | ProRes 4444 - Interpret Footage does NOT see Alpha Channel

I thought this problem would have been taken care of by now.
Guess the bug fixes in CS5.5 are few if at all
1) Export any movie to ProRes 4444 and set to export alpha channel straight.
2) re-import to AE
3) Open Interpret Footage Dialog....
One gets REALLY disillusioned when discovering that ALL alpha options have been grayed out.
When is this ProRes MADNESS going to STOP !!!!!

Dan,
if you are ever in Hamburg, Germany. Let me know and the brews are on ME.
In my testing madness I exported a movie WITH NO ALPHA.... That is the reason why I was NOT seeing any alpha options on import.
I dup'ed the vid layer and moved it about and set the opacity to 50... Then exported. And imported. And THERE they were ....
LE ALPHA OPTIONS....
Best Regards
M.

Opened project from November, interpret footage settings gone

I just opened a project from November. All the clips that were shot at 59.94fps then interpreted to 23.976fps have lost the setting. Everything in the bin that was shot at 59.94fps is back to its original speed. The result is in the sequence, those clips are playing with the wrong start and end points and a few don't render at all. I just went through and put the value back to 23.976 but the clips' in and out points are still wrong. It will be a lot of work to re-edit this back to the original final edit.
Has anyone had this problem? Is there a solution? A fix?
Thanks.
I'm now going through the backups to see if those are affected.
Alex

I believe this was a bug with copied projects. If memory serves, it was corrected in one of the CC updates.

Apply Interpret Footage settings to multiple sources at the same time.

I would like to be able to select multiple sources and conform their Pixel Aspect Ratio from "D1/DV NTSC (0.9091)" to "D1/DV NTSC Widescreen 16:9 (1.2121)"
I would like to also be able to use watch folders in this way.
I was informed that this was possible using scripts and I should post this question on the forum.
How do you use scripts? And how would can I achieve the above using a script?
I need to be able to do this so when I choose the "Broadcast - H.264 - NTSC DV Widescreen" preset that I don't have black bars on the sides. Even though our camera's are Widescreen the AJA card we use to capture our mix records in 4:3 aspect ratio.
Using:
Windows 7 (Fully Updated)
Adobe Media Encoder CC (Fully Updated)
Thanks,
Daniel

Figured it out, without scripting. In the program select the sources only then you can set all of them at the same time.

Interpret Footage works fine in pre8 but NOT pre9

I use pre8 at work - use Interpret Footage all the time to Conform to - PAL widescreen. It works fine. No problems.
I have just purchased pre9 for use at home. Interpret Footage does NOT work. The video fails and the audio fails. Not good. Problem.
I am using the exact same footage, camera, project settings etc.
Any suggestions would be appreciated. Thank you.

Brainforest
I suspect that your issue has nothing to do with your video footage, camcorder, but everything to do with a glitch in the Premiere Elements 9.0/9.0.1 Interpret Footage feature.It is not a fatal glitch unless you overlook what is happening. I will describe it, and let us see if this is the cause of your issue.
Let us say that I have Premiere Elements 9.0/9.0.1 with a video file on the Timeline, frame rate 29.97 frames per second and maybe Pixel Aspect Ratio = Square Pixels. The choices are not important. It is what happens in trying to change anything like these in Interpret Footage Premiere Elements 9.0/9.0.1. For now let us say that you want to change just the Pixel Aspect Ratio to something else.
a. I right click the video file in Project Media View, select Interpret Footage from the menu.
b. In the Interpret Footage dialog, I go to Pixel Aspect Ratio and change it from Square Pixels to something else. Then I click OK.
c. Then, when I resume operation in the workspace, the Pixel Aspect Ratio will be Square Pixels, BUT the frame rate will be 1.00 instead of 29.97.
Whether or not you are going to change the Frame Rate there, you need to select and type in the desired frame rate in the field where it says "Assume the frame rate ___"
In my case, even though I did not alter "Frame Rate from File" = 29.97, the typing cursor jumps to the Assume this frame rate field ____ when you open the Interpret Footage dialog. If you are changing the frame rate anyway, you would never know the problem. But, when you are only changing the Pixel Aspect Ratio, often this glitch goes unnoticed.
Bottom line: In your PAL system, if the file frame rate is 25 frames per second and you want to change just the Pixel Aspect Ratio in Premiere Elements 9.0/9.0.1, be sure to type in 25 in the field for Assume this frame rate to prevent the result of 1.00 frames per second.
Please check this out and see if this is happening in your case.
Thanks.
ATR

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Interpret footage default?

whenever i bring in an image sequence the interpret footage dialog is
always at 30fps which makes it necessary for me to change it to 23.976
or whatever i'm working at. how do i change the default for this? i searched
help but didn't see it. also perused the preferences but must have missed it
there too.
thanks,
BabaG

thanks for the pointer.
gave the file a quick once-over but didn't see anything in it about image sequences.
couldn't figure out how to pass my 23.976 value to into that file. everythiing seemed
to be set up for specific formats. my sequences are 3072 x 2304 (4x3) tga sequences.
i have no idea how ae is getting the values it's using for defaults in this case or where
in the txt file i would modify them. any further tips much appreciated. fwiw, i'll paste the
txt file in its default form.
thanks again,
BabaG
# "Interpretation Rules.txt"
# Adobe After Effects Automatic Footage Interpretation
# lines beginning with "#" are comments
# basic format of a hard rule: {match requirements} = {set interpretation}
# basic format of a soft rule: {match requirements} ~ {set interpretation}
# + for each rule that matches, the interpretation is set; wild-cards ("*") allowed
#   on both sides; wildcard match matches anything, wildcard set sets nothing
# + multiple rules are allowed to match, later matches override earlier matches
# + all rules are scanned in order, one rule per line
# + rules are applied after pixel aspect ratio, alpha information, and field label
#   information is read from a file
# + soft rules will not override values that are specified explicitly by the file format or set by previous rules
# width, height, frame-rate, file-type, codec =
#     pixel aspect ratio/name, field order, conform frame-rate, alpha interp, icc profile code or profile description (one or the other), linear light
# width & height are integer numbers
# frame-rate is a decimal number
# file-type is four characters in quotes (4c's)
# codec (applicable for QT & AVI only) is also 4c's
# to find out the file-type and/or codec 4c's for a specific type of footage,
#    opt-click (Mac) or alt-click (Windows) on the footage in the project window;
#    the 4c codes will appear in the last line of text by the thumbnail
# the pixel aspect ratio is a ratio of integers (e.g. 10/11)
#   optionally followed by a name for that ratio (e.g. 10/11/"My Aspect")
# In After Effects CS4 (v9) we modified the Pixel Aspect Ratio's for several common formats:
#    D1/DV NTSC From 648/720 (0.9) to 10.0/11.0 (about 0.9091)
#    D1/DV NTSC Widescreen from 6/5 (1.2) to 40/33 (about 1.2121)
#    D1/DV PAL From 768/720 (1.07) to 768/702 (about 1.0940)
#    D1/DV PAL Widescreen from 64/45 (1.42) to 1024.0/702.0 (about 1.4587)
# the field order is a single character, (F=frame, U=upper field, or L=lower field)
# the conform frame-rate is a decimal number
# alpha interp: (I=ignore, S=straight, P=premul/black, W=premul/white)
#    alpha interp is ignored for footage without an alpha channel
# icc profile is specified either by profile code which is four characters in quotes or by profile description which is a string in quotes with at most 255 characters plus quotes
# The supported profile codes are:
#    - working space profile: "wRGB"
#    - embedded profile: "embe"
#    - preserve RGB: "pRGB" (this does exactly what Preserve RGB checkbox does in Interpret Footage dialog)
#    - sRGB: "sRGB"
#    - Adobe RGB: "AS98"
#    - Kodak 5218 film profile: "ginp"
#    - SDTV NTSC: "r6nf" (SMPTE RP 145 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - SDTV NTSC 16-235: "r6ns" (SMPTE RP 145 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
#    - SDTV PAL: "r6pf" (EBU Tech. 3213 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - SDTV PAL 16-235: "r6ps" (EBU Tech. 3213 primaries and ITU-R Rec. 709 TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
#    - HDTV (Rec. 709): "r7hf" (ITU-R Rec. 709 primaries and TRCs. Black is encoded at 0 and White is encoded at 1.)
#    - HDTV (Rec. 709) 16-235: "r7hs" (ITU-R Rec. 709 primaries and TRCs. Black is encoded at 16/255 and White is encoded at 235/255.)
# The profile description can be looked up either in UI (project window thumbnail info) or in a color utility such as ColorSync or it is user-defined
# when creating a custom profile
# linear light is an integer (0=Off, 1=On, 2=On for 32 bpc footage)
# soft rule; assume ATSC 704x480 in any format is D1 aspect
704, 480, 29.97, *, * ~ 10/11, *, *, *, *, *
# NTSC rules
# soft rule; assume 720x480 29.97fps formats are DV NTSC (lower, NTSC D1/DV aspect)
# soft rule; assume 720x480 formats with all frame rates have NTSC DV/D1 pixel aspect ratio
# soft rule; assume 720x486 formats with all frame rates have NTSC DV/D1 pixel aspect ratio
# soft rule; assume 720x480 and 720x486 native mediacore formats are SDTV NTSC
# soft rule; assume 720x480 DVCPro50 files are SDTV NTSC
720, 480, 29.97, *, * ~ 10/11, L, *, *, *, *
720, 480, *, *, * ~ 10/11, *, *, *, *, *
720, 486, *, *, * ~ 10/11, *, *, *, *, *
720, 480, *, *, "dvc " ~ *, *, *, *, "r6nf", *
720, 486, *, *, "v210" ~ *, *, *, *, "r6nf", *
720, 486, *, *, "UYVY" ~ *, *, *, *, "r6nf", *
720, 486, *, *, "2vuy" ~ *, *, *, *, "r6nf", *
720, 480, *, *, "dv5n" ~ *, *, *, *, "r6nf", *
# PAL rules
# soft rule; assume 720x576 25fps formats are DV PAL (lower, PAL D1/DV aspect)
# soft rule; assume 720x576 formats with all frame rates have PAL DV/D1 pixel aspect ratio
# soft rule; assume 720x576 native mediacore formats are SDTV PAL
# soft rule; assume 720x576 DVCPro50 files are SDTV PAL
720, 576, 25, *, * ~ 768/702, L, *, *, *, *
720, 576, *, *, * ~ 768/702, *, *, *, *, *
720, 576, *, *, "dvcp" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "v210" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "UYVY" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "2vuy" ~ *, *, *, *, "r6pf", *
720, 576, *, *, "dv5p" ~ *, *, *, *, "r6pf", *
# D16/D4 rules
# soft rules; assume 2880x2048, 1440x1024 formats with all frame rates D16/D4 pixel aspect ratio
# removed from 7.0 -- remove comments to re-enable
# 2880, 2048, *, *, * ~ 128/135, *, *, *, *, *
# 1440, 1024, *, *, * ~ 128/135, *, *, *, *, *
# HD / HDV rules
# soft rule; Panasonic Varicam is 960x720
# soft rule; Sony HDV is 1440x1080, upper field first
# soft rule; assume HD dimensioned native mediacore formats are HDTV full swing
960, 720, *, *, * ~ 1280/960/"HDV", *, *, *, *, *
1440, 1080, 25, *, * ~ 1280/960/"HDV", U, *, *, *, *
1440, 1080, 29.97, *, * ~ 1280/960/"HDV", U, *, *, *, *
1280, 720, *, *, "v210" ~ *, *, *, *, "r7hf", *
1280, 720, *, *, "UYVY" ~ *, *, *, *, "r7hf", *
1280, 720, *, *, "2vuy" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "v210" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "UYVY" ~ *, *, *, *, "r7hf", *
1920, 1080, *, *, "2vuy" ~ *, *, *, *, "r7hf", *
# soft rule; assume HDV formats are HDTV full swing
*, *, *, *, "hdv1" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv2" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv3" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv4" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv5" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv6" ~ *, *, *, *, "r7hf", *
*, *, *, *, "hdv7" ~ *, *, *, *, "r7hf", *
# assume NTSC DV is D1 aspect, lower-field
# <obsolete rules -- superceded by soft rules above>
# 720, 480, 29.97, "MooV", "dvc " = 10/11, L, *, *, *, *
# 720, 480, 29.97, "MooV", "dvpn" = 10/11, L, *, *, *, *
# 720, 480, 29.97, ".AVI", "dvsd" = 10/11, L, *, *, *, *
# soft rule: tag Cineon files with Kodak 5218 profile
# remove comment below to enable
# *, *, *, "sDPX", * ~ *, *, *, *, "ginp", *
# soft rule: tag all Cineon files for now with Working RGB
*, *, *, "sDPX", * ~ *, *, *, *, "wRGB", *
# this soft rule should be the last in the list of soft rules
# soft rule: tag all untagged footage with an sRGB profile
*, *, *, *, * ~ *, *, *, *, "sRGB", *
# hardware- and format-specific rules
# Media 100 640 x 480 is square-pixel, upper-field first
640, 480, 29.97, "MooV", "dtmt" = 1/1, U, *, *, *, *
# Media 100 Finish 720 x 486 is D1-pixel-aspect, lower-field first
720, 486, 29.97, "MooV", "dtNT" = 10/11, L, *, *, *, *
# assume Matrox DigiSuite is D1-pixel-aspect, lower-field first
720, 486, 29.97, ".AVI", "MJPG" = 10/11, L, *, *, *, *
# assume Pinnacle Targa 3000 YUV is D1-pixel-aspect, lower-field first
720, 486, 29.97, ".AVI", "UYVY" = 10/11, L, *, *, *, *
# Media 100 Mac 720 x 486 is field-labeled by Media 100, and
# can be upper or lower depending on the hardware, but
# uncomment the next line to force D1, lower-field first
# 720, 486, 29.97, "MooV", "dtmt" = 10/11, L, *, *, *, *
# Avid 640x480 is square-pixel, upper-field first
640, 480, *, "MooV", "avr " = 1/1, U, *, *, *, *
# Avid Meridien Codec NTSC is lower-field first
720, 486, 29.97, *, "AVDJ" = 10/11, L, *, *, *, *
720, 486, 29.97, *, "AVUI" = 10/11, L, *, *, *, *
# Electric Image writes straight alpha files
*, *, *, "EID2", * = *, *, *, S, *, *
# OpenEXR is premultiplied by convention
*, *, *, "oEXR", * ~ *, *, *, P, *, *
# only adds a custom pixel aspect ratio to the popup in the Comp Settings & Interpret Footage
# dialog boxes -- uncomment the next line to try it out
# 0, 0, 0, "0000", * = 10/11/"Custom Aspect", *, *, *, *, *
# rule to make red raw files available as Rec709
# with Gamma encoded 32bit float data
*, *, *, "R3D ", * ~ *, *, *, *, "r7hf", 0

Workaround? - Using Interpret Footage AME renders active content only for original movie length

I submitted a bug on this behavior, but I am hoping that someone has found a workaround or maybe I am just using Interpret Footage incorrectly.
Here is the problem:
1. Import 20 second long 23.976fps source file into AME
2. Right-click item in Queue and choose Interpret Footage
3. Choose "Assume this frame rate:" and set to 18fps - Duration will update as expected to 0:00:26;19
Results:
Output file will have correctly re-timed active content up to 0:00:20;00 and then hold that frame (which correctly corresponds to 0:00:15;00 from the source file) to the end of the file at 0:00:26;18
Expected results:
Output file should contain the full content of the source file re-timed for the new duration.
NOTE: This behavior will also be apparent in the Export settings Preview window prior to encoding.
Mac OSX 10.7.5
AME: 6.0.2.81 (64-bit)

We are actually generating the files ourselves and keeping them 23.976fps (or 25fps for PAL-country clients). We're interpreting the incoming 23.976fps file as 18fps because that is the speed at which it was shot. Super-8 sound film like most other sound film was 'supposed' to be shot / projected at 24fps, but many shooters used 18fps to get more time out of a 50-foot camera load. Our company provides 24p (or 25p) files to clients, and in addition to providing 1 to 1 representations of their film at 23.976fps, we also provide 24p files with duplicate frames inserted so they are easy to work with in NLEs, yet approximate the correct motion for material that was shot at 12, 14, 16, 18 or 20 fps. Our Apple Compressor workflow works great for the 90+% of material that is silent or is sound film shot at 24fps. We would experiment with moving the entire speed-correction workflow to AME if it solved the 18in24 sound problem, and it _almost_ does. The behavior I described is obviously a bug and not 'works as intended' - it will then be a question of whether such an outside use case gets any attention. If I can come up with another use case that would be more popular, then I might get more visibility for the bug. I suppose that some may wish to batch out 24p files from 25p files using the same technique. That is, throw a pile of 25p files into AME, interpret them as 23.976 and write them out to 24p files. I would expect that the last 4% of those files would show a freeze frame...
Message was edited by: buckbito - typo fix

Panasonic 24pA footage - settings?

Does anyone know of a downloadable preset I can install for PrPro CS3 for working with footage shot using the Panasonic DVX100's 24p Advanced mode? If not, can someone specify the settings I should use when beginning the project?
It's been a while since I've edited SD, and I want to make sure I get it right.
Also, if you happen to know the answer, on a test capture, even though the footage was shot in 16:9, I couldn't get it to capture as such. Instead, it was recognizing it as 4:3, giving it that not-so-lovely squished full-screen look. Anyone know how to manually bypass this?
Thanks for your help.

Right clicking on clips in the bin will bring up some options, one of them being Interpret Footage... There you can force the anamorphic aspect.
But capturing in the correct preset should make this unnecessary. Premiere has correct 24p presets for both Standard and Widescreen.
(As an FYI, Premiere's 24p preset is designed for use with the Panasonic 24pA mode, which suits you fine. If one shoots in normal 24p on the Panny, then one edits in a normal 30i preset, not a 24p preset.)

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Ipod classic has been wiped saying 'no music'etc.
Cannot see it on the 'device list' in my itunes. I have tried restoring to factory settings and reloading...it reloads some of the music, but when I plug the Ipod back in, it wipes it again. Ocassionally Itunes freezes when I plug in the Ipod.

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CS4 vs. Interpret footage (23,976)

System:
Windows 7 (64)
Premiere CS4 (Demo)
AJA Bord
Uncompressed AVI (v210) workflow
I used to work with CS2 and I may upgrade to CS4. In my tests I was not able to use interpret footage propperly.
No matter what I tried, every source file (24, 25 and even 23,976) can not be interpreted as 23,976.
Premiere always changes 23,976 to 23,98.
1. This was working fine in CS2
2. It seems like this is just a display problem and the files are still treaded correctly.
Is there anyone who had the same problem?

It's a display rounding issue, near as I can tell. Do this test:
Import a clip that is 23.98fps. Take a note of the duration of the clip.
Select "Interpret Footage" for that clip, and change the frame rate to "23.976".
When you deselect the frame rate field, it will automatically round to two decimal places, e.g. 23.98. This will also be reflected in the project panel information area.
Now take a note of the duration of the clip; it will be slightly longer. It IS now being interpreted as 23.976fps, hence the slightly longer duration.
I found this to be the case with DVCPROHD 720p clips recorded using OnLocation; you can set OnLo to automatically remove the padded frames from a 720p/24p "over 60" stream to create true 24p AVIs. However, there's a bug in the way they're interpreted in Premiere Pro, in that they when they're imported, the pulldown is removed again, resulting in clips with 19.18fps. You can uncheck the "remove 24p pulldown" box in the interpret footage dialog, but they are then intepreted as 23.98fps. When trying to synchronize and multicam edit these files with 720/24pN clips recorded to a P2 card (which are correctly identified in Premiere as 23.976fps), they eventually go out of sync. So, in the interpret footage dialog, after unchecking the pulldown box, I have to manually enter "23.976"--again, it displays as "23.98", but the duration changes and the clips stay in perfect sync throughout the duration of the multicam.
Hope that helps...

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Is Interpret Footage messed up in PPro 4.2.1?

Well I guess my post title should be a statement rather than a question because it sure seems messed up to me. I work with old 8mm films transferring them to DVD so one of the most common things I do is transfer the film using a Workprinter XP from MovieStuff.tv and then import that footage into Premiere CS4. Once in Premiere I use "interpret footage" to set the frame rate to most commonly 18 fps. This has always worked without any problems until upgrading to PPro CS4 4.2.1. Whenever I view the footage via scrubbing, it does not match if I play from the same spot in the preview monitor. It always has in the past. Even if I render out my footage after interpreting at 18 fps and making no edits the final video is messed up (looks like the wrong speed and chops off a large portion of the video).
Is there something new I need to do in this latesdt PP update because it has always worked in the past? And I have confirmed it is a problem with this update because reinstalling Premiere without updating it makes my problem go away.
Anyone else run into this?
Thanks,
Al

The Workprinter (I have one) captures your 8mm film frame by frame, so what you end up with is a movie file at whatever frame rate the original film was shot in. So if you just play it back it appears in fast motion.
I recommend you purchase the sw that moviestuff recommends for the work printer. It is designed specifically for that purpose and will provide you an avi at the correct frame rate. Simply adjsuting the frames per second in Pr does not accomp-lish the same thing.
You are interested in top quality or you would not have purchased a work printer. You would be filming off the wall. Dont skimp on the final step.

Black screen after interpret footage

I am exporting 16x9 anamorphic SD video from Avid. In Encore I import the quitktime reference, then choose "interpret footage" and set it to SD Widescreen. Then when I transcode the video, all I get is black.
If I transcode the video without using Interpret Footage, it transcodes fine.
Any ideas?

think I've solved it... if I check "use Adobe Media Encoder," in settings, it seems to transcode OK.

Interpret footage settings not reloading.

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