Mixed footage in CS5

Hi
I want to make a sequence with mixed footage. The footage is both DV PAL WS and AVCHD. I make a DV PAL WS sequence, but when I import the AVCHD it is not automaticly resized to fit the size.
Is there a way to automatic make PPRO resize to seq. settings and/or how to do it for individual clips?
Thanks.
/Ulf

Found out something myself...
I can right click and chose "match frame size". Thus gives me almost what I want, just with 2 tiny black bars in each side. Can You strech it the rest to fill the whole size?
Thanks.
/Ulf

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Red footage and CS5

Interested in a bit of dialogue about Red footage and CS5.
Just quoted a production shooting 35mm film combined with footage from the Red Camera.. (reasons various)
Am I setting my self up for a whole lot of whoop-*** problems with the red stuff?
Anyone with experience of Red and CS5 willing to relate.
Thanx
Craig

Thanx guys.
My tests to date with 4k footage (downloaded) has been successful
(it played fine in my project)
and now...
I am delving into this RED thing a bit more deeply ....
I assume that the new importer as linked to here:
http://blogs.adobe.com/toddkopriva/2010/05/cs5-mysteriumx-red-update.html
is required (a must install) to enhance the CS5 "capabilty" in RED footage management?
Will shoot Red Camera tests this coming week (with audio).
Must tell you... my faithful and regular Camera Assistant is appalled I am considering the RED for one of our shoots. He has had many bad experiences with the hardware!
I have my own trepidations as a D.P ( as well as being the guy who will edit the footage).
Issue is I have clients for whom this is a bit of a "name drop" request for their productions.

How to import Casio ex f1 footage to CS5.5 (HD h.264) without jaggs

Hi,
I've been using Premiere CS3 for a while with a Casio Exilim EX F1 and have been very pleased with the results. Unfortunately I've now switched up to CS5.5 due to purchasing a new mac pro due to my old laptop being very tired.
I've tried importing the same footage into CS5.5 using the same settings as I used in CS3 but the footage now seems very 'jaggy' and much 'less clear' than previously.
To best describe it looks like; straight lines are now zigzagged and there are blocky fields of colour in 'abstract' areas of image (possibly an interlacing issue?)
The footage plays fine in QuickTime.
I have tried using various settings as well as re-exporting the footage through QuickTime 7 Pro but have had no success in getting results equivalent to those from CS3.
Are there settings that will work with the exilim EX F1 and CS5.5 as it stands or do I need additional codecs?
I am quick happy to re-encode the footage before import as I don't deal with masses of media if there is a suitable encoder and settings someone could recommend.
I am not a professional film maker and am using the software for community film projects with young people and occasional personal art projects.
If anyone can offer advice or a solution it would be greatly appreciated,
many thanks in advance,
Richard Dawson
NOTE: The exilm footage is HD: 1920 x 1080 (FHD HQ/ FHD Normal, 60 Fields per second) and 1280 x 720 (HD LP 30 fps) is a .MOV file with H.264 format

Hi John,
Many thanks for your prompt reply, very much appreciated.
This method of controlling the sequences settings is useful to know and made trying different options much easier.
I have tried importing some of the exilim footage using the sequence shown in the video but the results are the same, footage still 'jaggy' and 'messy'.
I'll keep trying different options but have tried various custom settings and none seem to solve the issue.
When I check the movie properties it says it is 'a referenceing movie' and I wondered if had some bearing on the issue.
once again many thanks for your help and if you can think of anything else please let me know,
cheers,
Richard

Mixing footage of different formats, different camera makes

I have a colleague who wants to mix footage of different formats, from different camera makes. I recommended against it but, I have a feeling he thinks I'm making up the rule. Can anyone point me to some authoritative sources on this standard.

It's pretty much common sense, really. Ideally you'll want to use identical cameras with identical settings. You can get away with certain differences, but those differences will add varying degrees of difficulty to your wok flow. Here's the priority you should be working towards.
1. Same model camera, with all settings identical.
2. Same resolution, frame rate and format, but different model cameras.
3. Same resolution and frame rate, but different formats.
4. Same resolution, but different frame rates.
5. Different everything.

Mixing footage in Premiere CC?

HI, i have doubts about workflow for this job...I must mix and scaledown hdv footage in dv sequence, edit in multicam and export to DVD...My question is what happens to interlaced fields from hdv clips in dv sequence?

Ann Bens wrote:
paul whitehead wrote:
nope. mpeg2 is not just for dvd. I was reccomended by a representative from adobe to use h.264 for dvd cause its a better quality codec the dvd will play back. ever since then, i been using h.264 other then the .mov codec i would use before and it works just as good.
I wonder who that Adobe rep was?
I have never heard such rubbish mpeg2-dvd is for DVD period. Sure you can put mpeg2-BD on a BD-disk but that is not what we are talking about here. H.264 BluRay is for a BD disk.
H.264 does not play on a DVD. If you export to H.264 to author for DVD it gets re-encoded to mpeg2. period.
Is AME CC the best solution for export to dvd format from premiere cc? I read about frameservers and avisynth scripts, but I have not tried it yet...

Converting Mixed Footage

Hey there,
I've been given a real mixed bag of footage to edit in FCP and I just wanted to ask what the best thing to do is. The files I have are:
H264
1280x720 10fps
640x360 25fps
568x320 30fps
1280x720 29.97fps
1280x720 24fps
854x480 29.97fps
564x322 25fps
1920x1080 29.97fps
MPEG4
720x400 29.97fps
564x322 25fps
Crazy huh?! So, should I convert them all in compressor to a standard size and codec like H264 720x576 anamorphic?

>So, should I convert them all in compressor to a standard size and codec like H264 720x576 anamorphic?
No...not at all. H.264 isn't an editing codec...FCP will choke on that. Good lord, that is a bag of hurt. A BIG bag of hurt. Forget frame sizes...frame RATES! Ugh.
My advice? Don't use FCP. Download the trial for Adobe Premiere Pro CS6 and use that. Heck, rent it after that if this takes longer...It goes for $30 a month.
Or...convert everything to a uniform frame rate and codec and pixel dimension. What size/frame rate depends on your deliverable. But depending on the amount of footage...this alone will take a while.

Mixed footage, do I interlace or progressify?

Im trying to make a demo reel, but my sources are a mix of progressive and interlaced, that is, not any one source is a hybrid, but that all sources are either or. Now obviously if i deinterlace footage the quality will go down the tubes, but what happens if i deinterlace progressive footage (as it will all have to be exported uniformly)? If instead i chose to export everything as interlaced, would there be a quality hit to my progressive footage?

Well, film is naturally progressive, but it was 24fps and i had it telecined to 30i, then deinterlaced it after exporting the final version, so now its 30p. The final movie is sitting in an uncompressed lagarith avi format.
edit: Just wanted to note that i deinterlaced it after finding that the interlaced export, once burned to DVD, stuttered and had a host of other problems that only went away after making it progressive. While i see the inherient answer that if all my projects are 30i thats there should be no problem keeping it interlaced, i have no doubts that the problems will come back if i dont keep it progressive.

Best Sequence for mixed footage

Gurus,
What is the best sequence settings to use if mixing HDV 720p, HDV 1080i, 24p, and Standard 29.97 NTSC DV formats in the same project? Final delivery will be SD DVD/and web.
Thanks in advance!
Matt

I will be mixing a small amount of beta/miniDV footage into the sequence
How will you be bringing this in? DV I see as via firewire, but beta? If you had a capture card, you could upconvert those to HD ProRes.
So, Do I upconvert the SD to ProRes, and work in a Pro Res sequence?
Yes.
Or do I down convert the Pro Res to SD, and work in the standard DV NTSC perameters? Again, I'm finishing to SD DVD/Web. Appreciate any advice!
Well then, downconvert the HD to SD and work in DV/NTSC.
Shane

HD or DV sequence for mixed footage

I need some advice from someone who has mixed DV and HD footage. I have a show recorded with DV using a Panasonic DVC-30 and HD24p with a Canon HV20. Both are anamorphic. I need to mix the footage for my final product.
The biggest issue is that when I use a DV sequence and add HD footage to it, the HD footage is unacceptably bad, jagged. I understand it has to lose information in the downconversion, but is there a setting or a filter I can add to tweak this?
If I use an HD sequence, the dv footage is small. If I blow it up to match & render out to DVD, the HD footage looks fine but the DV footage doesn't match.
If i let the camera downconvert, the footage looks just as bad as when FCE does it.
pardon the naive question, but why does the hd footage looks fine when you reduce the size of the window? Shouldn't it suffer from the same type of loss?
I guess I assumed when I shot this (yes I realize I should have done more extensive field tests first) that the downconverted HD footage would look better than it does. Are there tools/filters that do a better job?
Thanks for your help.

It turns out that the HD footage is blown up after all, which accounts for some of the 'jaggies'. If you reduce the hd footage in the dv sequence to about 50% scale it matches. You're right about the canvas rendering being lo-res as well.
Thanks!

Mixing footage, P2, DVCAM, DVCPRO50

Forum
What are the best setting for a project using a mixture of footage. Do I have to render clips when I'm using different sources or can I caputre all in a way that eliminates the rendering.

Footage recorded with the HVX onto P2 media can be any one of 81 different formats. When you import this into FCP, the format stays the same...no converting is done. So once you import, please note the format type. Seeing that everything else is DV or DVCPRO 50, I hope they shot DVCPRO 50 with the P2 camera. If they shot HD, then you are in for a WHOLE lotta fun.
DV50 footage is pixelated? How are you viewing it on the external monitor? Still connected to that deck? Do you have a DV50 timeline?
Mixing DV50 and Dv is easy...just render the DV footage. Or use a capture card to capture it as DV50 (you cannot capture DV as DV50 via firewire, even if it is played from a DV 50 deck)....or you can use Compressor and the Advanced settings to convert the footage.
Shane

Best way to export my DV and HDV mixed footage film

here's a tricky one
I have a 9 minute film, shot on dv-pal, still photography and some parts on HDV progressive.
I have finished editing but can't find a way to have a good to screen film. The problem is the fields, and they appear for some reason when I export the film, either uncompressed or dv-pal quality. The exported finished product is full of "lines" that downgrade my picture quality a lot.
I tried two ways
I edited the whole thing on a DV sequence. The still photographs and the HDV material was scaled down to fit the size of the DV footage which consist most of the film. But the finished export either uncompressed either when exporting using Compressor is ****.
I am now trying to adjust all the footage on an HDV sequence...
any help or opinions offered is very much welcomed
thank you all in advance, will see your replies in a few hours

Have you actually watched your film on a proper monitor, or just your computer display? The reason I ask is I've had footage before, usually interlaced, that looks terrible on my progressive computer display, but once burned onto a DVD and played on an interlaced TV looks gorgeous. If you have an analog->digital converter or even a DV camera you can use that too. Plug that in to your computer and a TV you've got handy and playback your sequence through that and see how it looks. I'm willing to bet that it will look infinitely better on an actual TV set.
-Brian

Best practice dealing with mixed footage types

I will soon embark on my first proper FCP project. The film will be shot at the end of the week on a Sony PMW-EX1 in 1080p25. We already shot some footage a few weeks ago, alas this was mistakenly shot interlaced 1080i50. What would be the best way to go about combining these two sets of footage? Should I de-interlace the 1080i50 stuff first or just drop it all into the timeline and allow FCP to deal with it?

OK, I found a better solution.Future<String> errString = executorService.submit(
    new Callable<String>() {
        public String call() throws Exception {
            StringWriter errWriter = new StringWriter();
            IOUtil.copy(process.getErrorStream(), errWriter, "UTF-8");
            return errWriter.toString();
int exitValue = process.waitFor();
getLog().info("exitValue = " + exitValue);
try {
    getLog().info("errString =\n" + errString.get());
} catch (ExecutionException e) {
    throw new MojoExecutionException("proxygen: ExecutionException");
} The problem I was having before seemed to be that the call to Apache's IOUtil.copy(errorStream, errWriter, "UTF-8"); was not working right, it did not seem to be terminating on EOS. But now it seems to be working fine, so I must have been chasing some other problem (or non-problem).
So, it does seem the best thing to do is read the error and output streams from the process on their own daemon threads, and then call process.waitFor(). The ExecutorService API makes this easy, and using a Callable to return a future value does the right thing. Also, Callable is a little nicer as the call method can throw an Exception, so my code does not need to worry about that (and the readability is better).
Thanks for helping to clarify my thoughts and finding a good solution :-)
Now, it would be really nice if the Process API had a method like process.getFutureErrorString() which does what my code does.
Cheers, Eric

Urgent Mixed footage query

Would really appreciate anyones thoughts as to the best option for a DVD I have to output tomorrow, which little chance of time to redo it again or experiment.
I have footage that has been shot in 3 formats
1) HDV Z1 50i approx 40% content of 120 min total
2) EX1 50i approx 40% content
3) EX1 25p 1280x720 approx 20% content.
The individual clips were edited in separate sequences so HDV in a HDV seq, EX1 in a XDCAM Seq and the Progressive in a Pro Res 422 1280 x 720 25p Sequence.
I have to now bring them all together and output a SD Pal DVD master.
Which would be the best seq settings to drop all the footage into to given I have a mixture of Progressive and interlaced footage. I am concerned that I will have field Dominance issues if I get it wrong.
Thankyou
Message was edited by: mr bluefin

Thanks for your reply. Can I just confirm that I am understanding you correctly, as there is a bit of info that may alter you advice?
The different filmed formats that are 40%, 40% & 20% chunks do not appear as whole sections together in the project. i.e there are 41 clips in total ranging from 15 seconds to 11 minutes and these are arranged randomly throughout the project. Thankfully no clips are a mixture of formats.
Would you still suggest your original plan of exporting each of the 41 clips separately via Compressor, then import them as separate assets into DVDSP and set chapter markers in DVDSP?
Thankyou, I am about to start shortly!
P.S I did a quick test yesterday of burning a few sample clips to a DVD straight from A) an interlaced seq and B) from a progressive seq. The Progressive seq export seemed to offer a better result, with no obvious signs of interlacing issues. BUT this was only on 3 10 second clips.

5.1 Mixing in Audition CS5.5

Is it just me or is surround mixing superior in Premiere than it is in Audition? In premiere, I have the ability to do multichannel panning AND and I can save the whole thing as Dolby Digital 5.1. I can't seem to find either of these functions in Audition. I can't seem to open Dolby files either for editing even if I wanted to tweak and save into a multichannel WAV, bring into Premiere and reexport 5.1.
I suspect this has already been discussed but I couldn't find it so I'd appreciate some guidance.

And a screenshot to help describe what's going on:
Also, it is worth mentioning that there's an optimization that won't record track keyframe automation if there's no clips on the track, so if you're trying to record automation, make sure your track isn't empty (unless, of course, it is a bus or master track).
Audition's surround panner is superior in several ways (I'm sure I'm forgetting some)
It is possible to route audio to only the LFE, not possible in Pr
It is possible to actually PAN a stereo source in a 5.1 space in any direction and width. Premiere's Stereo to 5.1 "panner" is actually a balance control in the horizontal (Left/Right) axis. So moving the puck left/right is only adjusting the balance between L/C/R and Ls/Rs. Here in Audition, you can actually have the stereo source widen and get narrow.
It is possible to disable any of the 6 destination channels
Audition's LFE channel isn't low-pass-filtered, it can send audio untouched to that channel as it should
Audition's surround panner has an optional larger UI in a dedicated panel that can be docked making it easier to use
Audition's surround panner gives you a rough indication of the relative level that is being sent to each of the satellite channels

Mixed Footage

For Christmas I received a Sony DSC-W290 point and shoot with video capabilities. It shoots 1280x720x24, 29.97Progressive MPEG-4 PAR 1.000 QuickTime. 95% of my projects are done with 1440x1080x32, 29.97Interlaced .m2t PAR 1.333 UFF with the final destination being DVD.
1. Can I put interlaced and progressive into the same project directly?
2. What happens by having two different PARs and frame sizes?
3. What should my project settings be. Should I set them to whichever video is used the most in the project?
4. What setting would I want to use for Rendering?
5. Anything else I should know about doing this?
Thanks. Cin

Hello, Cin.
For some of your questions, there's more than one possible "correct" solution. So it depends.
Before anything, consider this:
with the final destination being DVD.
NTSC DVD is always 720x480, either with a 4:3 or a 16:9 frame aspect (which is a consequence of using the NTSC DV or NTSC DV Widescreen PARs).
So, assuming 16:9, you could just have a NTSC DV Widescreen Comp and user either kind of footage and scale down to fit the frame (The Fit to Comp command will take care of scaling things down automatically to fit the frame - select the video layer, and press Command + Option + F on Mac, or Control + Alt + F on Windows).
1. Can I put interlaced and progressive into the same project directly?
Absolutely. Just make sure AE interprets interlaced as interlaced and progressive as progressive.
2. What happens by having two different PARs and frame sizes?
As long as AE interprets correctly the PAR and frame sizes, there's no problem. The whole point of interpretation is that AE handles the transform from one pixel aspect to another transparently to the user. In this case, both 1280x720 with a PAR of 1.0 and 1440x1080 with a PAR of 1.33 have a resulting frame aspect which is identical to NTSC DV Widescreen. They are just larger.
3. What should my project settings be. Should I set them to whichever video is used the most in the project?
If going to to DVD, your Comp should be NTSC DV Widescreen or NTSC DV (unlikely to be what you want, since everything is 16:9). The only reason to use a different Comp setting is if you want to keep an HD master to future-proof your project. In that case, you could have a 1280x720 Comp with a PAR of 1.0 and render to 720x480 with the NTSC DV Widescreen PAR.
4. What setting would I want to use for Rendering?
While DVD always uses MPEG-2 compression, you can just render a Quicktime movie with lossless encoding (Animation, PNG or JPEG2000 codec) and most authoring applications will transcode to MPEG-2 for you.

Mixed footage in CS5

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