Premier CS3 is demolishing my DVCPRO HD 1080i footage

My project looks BEAUTIFUL on my original timeline but by the time it is encoded to standard DVD specs (progressive or interlaced) it looks almost like VHS. I have read the discussions about what the CS3 deinterlacing does to our beautiful HD footage.
I have also read the very detailed work arounds posted by Dan Isaacs. I really appreciate the extreme technical knowledge and talent that Dan and those who follow Dans procdures have. I on the other hand am just a professional editor/producer that has been doing video production full time for 20 years. I do not have the knowledge or time to follow this procedure.
All I want is for Premier CS3 to render my HD footage into acceptable DVD quality. Is the new CS4 going to do a better job of rendering DVCPRO HD 1080i???? Or do I need to go to a different editing program after using Premier since the days of 5.1???
Please Help if you can...
Thanks,
Mark Voigt

Unfortunately, the links to the original articles are possibly broken now - forum changeover. However, you *might* be able to locate the new links via Search. It's different now, as you have to initiate the Search, Enter, ignore what is found, then go to Options. There you can set the criteria for Forum, and then add Dan to the list. That *should* get you close. Might take some doing. If I can locate Dan's excellent articles in the new forum, I'll be sure to post the current links. Until the Google (and other) 'bots complete a full sweep of the new forum, and compile the new links, older articles just might be out in limbo.
Hunt
[Edit] Here's ONE for you, but it's mostly Dan's replies and not the main How To article that I'm looking for.
[Edit 2] Here is ANOTHER, that looks like the original article, but seems truncated, in that this link goes to Jeff Bellune's reply, which, IIRC was way down the thread. Maybe the original is lost forever.

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Fcpx imports DVCPro HD 1080i always as NTSC/1080p

Hallo to All,
I have a problem importing DVCPro HD 1080i50 material in fcpx 10.0.3. The imported clips always appear as NTSC 1080p clips and they are not longer interlaced, even if my project is ProRes 442 HQ 1080i 1920x1080. How can I import an DVCPro HD 1080i clip in the right way?
Thnks for helping
callingernie

I tried making all sequence settings DV but still no luck. Just get a black screen on playback of tape. Very weird. Frame size, pixel ratio, compressor all DV.
I have a screening coming up soon so I'll probably have a post facility make a DVCAM from the HDCAM master tape, which which will probably look better anyway than doing it in FCP from the DVCPro file. Still it would be nice to figure out why it isn't working.

How to open premier cs3 project in cs6

how to open premier cs3 project in cs6

You'd open it the same way you'd open any project file. Start the program, click the Open a Project... button on the Welcome Screen.

Exporting DVCPRO HD 1080i

I have completed a multi-track (6video tracks/9 audio tracks)13 minute edit. Video , titles, stills, music, voice...just a normal edit really. Now I want to make a DVD. In the past with SD DVCAM I always export my multi-track edit into a one piece AVI before converting to mpeg for DVD. This always seems to clean up any strange things from happening to my final DVD video.
Now when I export my DVCPRO HD 1080i muti-track project to a one piece DVCPRO HD 1080i file it comes out missing little clips and some titles....?
Any comments or ideas?
Thanks,
Mark Voigt

I have taken footage in HD 1080i. Presently I need to make a movie in DVD format using my HD footage, but I would like to assemble my footage in HD so that if in the future I want to upgrade it won't be a problem. So can I make my movie in HD1080i and export it to DVD format? If so, how? Or if I make it in DVD format is there an easy way to upgrade my movie to HD in the future?

Premier CS3 how to save your settings (Presets) ?

I installed my Premier CS3 on my new PC and wanted to use some of my old PRESET setting that i have saved on my other PC...
Ok here its :
On my old PC i modified let's say a Trapcode plug in and saved it under PRESET , basically i chnged certain prameters within that plug in and saved it under a new name, now that i upgraded my PC and reinstalled my Premier on the new PC, is there any way i could go to my old PC and somehow save that file and use it on my new PC, so when i try to use my old preset, i get the same settings ?
thanks !

Ok Harm here its..
I used the Magic Bullet's MisFire on one of my clips, but you know how you goto effect control settings and change certain parameters and then you can save it under a user PRESET, which appears on top of all effects as Presets, ok there we go .
so, everytime i wanna use the MisFire i goto Presets on top of effect page and use that one instead of the actual MisFire from Magic Bullet video effect section, that way i don't have to change any parameters , its already set the way i wanted to look !

PREMIER CS3 - Eyedropper Tool ONLY Sees BLUE

When I am Chroma or Colour Keying in Premier CS3 the eyedropper only sees BLUE, whereas last week it saw EVERYTHING that I would touch it to.
I was told to buy CS4 but that's not an option for me yet.
How do I get it to see the colours I am touching with it again?
Xin

My Replies will be in BOLD
Thanks for the info.
Now, some observations, followed by a few more questions:
My question - 1.) when you click the eyedropper, does the cursor change to the eyedropper symbol?
+++ The cursor changes to the EYEDROPPER as soon as I mouse-over the actual eyedropper icon. As soon as I click it, the colour in the box becomes an off blue-purple, and no matter what colour (with the exception of white) that I click on, the blue-purple colour remains as the selected colour. This does NOT happen in After Effects when I use chroma key there.
This is odd behavior. When working with the Chroma Key Effect (my example), I start with a color swatch and the Eyedropper button/icon. Hovering over it will do nothing, until I click on that button/icon. That is when the cursor changes to the Eyedropper symbol - not before I click. Something is odd here.
Could there be an Automatic/Options filter that is turned on that I don't know about?
My question - 3.) what are the other settings in the Chroma Key box in the Effects Control Panel?
+++In order the options in Chroma Key are:
Colour - has the colour box and eyedropper icon
Similarity
Blend
Threshold
Cutoff
Smoothing with an options drop down box
Mask Only with a check box.
My settings are:
Color with the swatch and Eyedropper button/icon
Similarity 0.0%
Blend 0.0%
Threshold 0.0%
Cutoff 0.0%
Smoothing None
Mask Only unchecked
Can you try those settings as a test? You can change them back after the test.
I have shot video of this for you, I will convert it and sent it off. Can you view MPEG 2 files?
You'd most likely know if you had a Matrox Video/Capture card. We can probably rule that one out.
You should not need to upgrade to CS4, unless some of its features would be worth it. I'm testing this with PrPro 2.0 on my laptop, so you should get almost everything that I do. You should also NOT need to go to Photoshop for this. Something is odd, as mentioned above.
I have no interest in moving to 4 (dollars and cents are an issue).
Now, most of these questions mainly come from my years with PS, and might have nothing to do with PrPro. Still, these were things that could mess up the Eyedropper in PS.
Do you have Cap Locks ON, or OFF?
Tried both
Do you have a MS InteliPoint mouse driver?
No, Logitech Mouse Here
Are you running Window Blinds?
No
What happens if you Ctrl-click on the Eyedropper button/icon?
The colour becomes about 1/3 the darkness it would normally be - but only sometimes
What happens if you Alt-click on the Eyedropper button/icon?
It detects grays only
What happens if you Shift-click on the Eyedropper button/icon?
It sees gray and white but wont change the blue colour
What is the exact version of CS3 that you're running. Tip: Help>About and look to the middle-left of the splash screen for some black text with something like CS3.0.2.
CS3.0.0 (374)
The video will follow shortly
Kevin
Good luck,
Hunt

Premier CS3 and MTS files

So, is Premier CS3 unable to recognize and handle MTS files? I just got an HD camcorder that shoots AVCHD and the files, which have an .MTS extension, don't appear when I browse to import into Premier. I just want to confirm that I'm SOL. If so, I'm assuming my only workaround is to convert the files to SD in the camera and give up on HD until I upgrade my software? Or else, is there a plug-in or something that will give CS3 the ability to work with these?
Thanks in advance for any advice!

I got this yesterday and tested it...works pretty well for cs3 which is what I use. However, the source video I converted had 6 audio channels and sound woud not go into cs3 with converted file ...so I used the same conversion program to extract the sound as a wav file, and that went into cs3 nicely...
You would want to "link" the audio and video once in cs3..if you have similar issues someday
This is the program I got ( only if you cannot afford cineform neoscene right now )
AVCHD CONVERTER and export info aunsoft 29 dollars
http://www.aunsoft.com/mts-converter/
This is what I converted the avchd file to using that program
hope that helps

1080i footage to 24P?

Hi All,
Just wondering. I have somne 1080i and also, 1080-24P footage I'd like to put on one HD/BluRay Disc as a 24P (or simply progressive) project. Is it possible to take my 1080i footage, and somehow, make it into Progressive (frame by frame) footage? Or would this simply be a bad idea and be of horrible quality when compared to real (recorded as) 24P source footage?

RedTruck and Hanumang,
Thanks! Honestly, here is why I asked.. I have 2 projects, off YES - the HV20. Hate it or love it - this Cam is awesome for the $1,000 I spent. I do hate the aggravation of the 'not so 24P' aspect of it - BUT, since performing the reverse Telecine in Compressor - I'm REAAALLLY Happy. (that is, on the one reel I have shot - in 24 Cinema mode, not the 1080i reel in question and the subj. of this post) The footage (the 24P footage that was put thru reverse telecine) is pristine. It looks much better then my friend's footage, off his $3500 Sony 3 CCD HD Cam - for whatever the reason..
At any rate, I first shot a 1080i reel. Then switched over to the 24 Cinema Mode Setting, which is still saved to tape as 'interlaced', so I hear. This is why I brought it into FCP as 1080i - sent to Compressor and made it to 24p using reverse Telecine. I set frame rate to 23.976 like the Apple Article Stated to do - on Apple Support website. I then saved the clips and started a NEW Project in FCP - with easy set up for 1080P/Basic Firewire. I placed clips in Timeline and all duplicate frames were gone. I scanned thru, one clear frame at a time, and it was mint. So then, I wanted the original 1080i reel to be part of "same final video" - Hence This Post!
So yea, I can 'play around' with your suggestions.. However, it does seem like the 1080i reel, may be looking degraded from what you've both written! LoL. UGH.
So, My FINAL question?: How about, simply adding any 1080i material to this 1080/24P project as is, leaving it interlaced. Can't FCP do this? Like, I read it can handle any format in same project? But, if I want the final output to be an HD DVD - some footage would be proper, pristine, 24P/24 FPS - and some 1080i. I'm not sure if the DVD would look and play back - with no detrimental side effect? (on a set top layer)

1080i footage played in Viewer only displays field 1

I'm using an iMac without an external monitor. I have 1080i footage. I can jog forward a field at a time and see both fields individually in the viewer. But when played real time, my iMac only displays field 1. Same thing if I play it back full screen.
I know I wouldn't have this problem if I had an external monitor. But is there a setting somewhere so the iMac will display both fields during playback?
It's a 2011 iMac. 2.5 GHz Intel Core i5.
THANKS.

Thanks Tom. Yes, with that setting both fields are displayed, but only when the sequence is paused. You'll see both fields when paused, but only see field 1 when playing.
You can forward a field at a time with Option and left or right arrow. In Time Display, turn on "show subframes" in the Time Code display. Field 1 is 00 subframes. Field 2 is 40 subframes.
Strangely, the Event Browser Display works differently. In that window I can see both fields when it plays. And the "display both fields" in the Event Browser Display must have a bug. It doesn't work for me, it always displays both fields.
But in the main Viewer I only see field 1 while playing.

Premiere Pro CS 6 will not capture 1440 x 1080i footage through firewire.

Every time and without exception, whenever I attempt to capture 1440 x 1080i footage from a Sony camera, the application will crash and close.
My capture settings are as follows:
1) Capturing to external HD
2) DV/ HDV Device Control and
under "Options" I choose a standard
Sony device being that my camera
(HVR-Z1U) is not listed.
3) Using firewire 800
What's going on here? Is there something I am doing wrong. Or is this a bug. Everything else captures fine. For example when I use a Panasonic
DVX or HVX it works perfect.
Please help.
Thanks

ShockWave101010 wrote:
Thank you Bill, the external HD is connected through high speed usb.
HDV through firewire is not supported. Hard to believe but the response came from Adobe.
Ashamed because I love their products. Oh well.
Judging by the approximate release date of that Radeon HD 6770M (mid-2011) that best USB speed that you have is USB 2. That is not adequate speed wise for any video editing.
I do not know who you talked to at Adobe but here is a paragraph from CS6 help: Adobe Premiere Pro Help | Capture HD, DV, or HDV video:
Capture DV or HDV video
You can capture audio and video from a DV or HDV device by connecting the device to your computer with a FireWire cable. Premiere Pro records the audio and video signal to the hard disk and controls the device through the FireWire port.

DVCPro HD Varicam Footage, PLEASE HELP

Hello,
I am in a bit of a tricky situation and I hope someone can help. I have 6 hours of 24p Varicam footage captured into final cut and its already been edited into a sequence. However, as I just received this footage and sequence, I realized that it was all captured at 59.94 fps and the extra frames were NOT dropped. I guess the person who captured it forgot to tick the little box that says to remove the extra frames. So now I have all 60 frames, which are simply duplicates of the 24 that the camera actually recorded.
At first I thought I could use cinema tools to remove the cadence and render out the true 24p footage for myself. However, when I opened the clips in cinema tools, the button was greyed out and I couldn't do it.
I then thought I would try it in final cut pro (version 5). So I highlighted a clip, went to tools, remove advanced pulldown. A message popped up saying that it couldn't remove the advanced pulldown because the footage I have is not DV25 or DV50.
I then thought I could recapture the footage and it would hopefully match up to the timeline. However, when I looked at my capture settings, the box that you tick says "remove 2:3:3:2 advanced pulldown from DV25 and DV50 footage". I found an article with screen captures of the correct settings to use for DVCPro HD Varicam footage and this message should say "remove extra frames etc.." but should make no mention of DV25 or DV50 footage.
What is up with that? Am I missing something? I used the DVCPro HD 720/24p easy setup? Any thoughts?

First off let me just warn you about Cinema Tools. DO NOT conform your footage to a new frame rate. This will make your problem worse. The Remove Pulldown feature relies on fields and won't help here either.
I have posted a few topics on this exact subject over the past several months. Unfortunately, the forum archives are not very deep here.
In short, there is no easy way to fix your problem without recapturing using the FCP DVCProHD 24P capture preset. For me, recapturing using the Final Cut DVCProHD wasn't a good option since I rented the deck and didn't budget a second rental to recapture.
In my experience, the suggestions I've seen posted so far are not going to fix your footage cadence. Placing such footage in a DVCProHD 24FPS sequence will result in strobing and studdering.
Here's one of my older posts relating to the topic, although in this post, my problem was compounded by the fact that I attempted to conform the footage to 24P, only to find that the new version of Cinema Tools wouldn't let me return it to 60P. Here' how I got it back to 60P:
http://discussions.apple.com/message.jspa?messageID=1070537#1070537
After getting the footage back to 60P (which is what you have now) I had to import the footage into After Effects and place it in a 24FPS composition enabling frame blending. I then rendered all the footage from AE and replaced it in Final Cut. What a pain! It was the only way I could find to get rid of the strobic effect caused by the odd cadence.
Although it didn't work for me in that incident (since all my meddling removed the Panasonic tags from the footage) there is a tool that could fix this for you without recapturing, although I'm convinced it would probably take longer than a simple recapture. Panasonic has a free FCP plugin on their Varicam support page that allows FCP to deal with redundant frame removal. It works well one clip at a time, but in my experience messes up the audio (actually deletes audio to be precise). The tool is mostly intended for slow-mo stuff where audio isn't really necessary. You can use this tool, then re-apply the audio tracks through the Add feature of QuickTime Player, or by manually re-applying audio tracks and exporting in Final Cut.
Recapturing is the simplest solution. Just take the footage offline, then recapture the clips using the correct FCP DVCProHD 24P preset rather than the 60P one. Unless you have Timecode Breaks or Cadence errors in the footage itself (I regularly get both) this should work.

Exporting 1080i footage to blu ray format.

Hi there,
I have captured some 1080i footage in premiere pro CS4 and have been exporting sections as image sequences in progressive to do some rotoscoping. I now want to produce the video in 2 formats. One intended to be a standard interlaced def DVD and the other to be the highest possible quality for blu ray. Could someone help me with whether i need to deintelace the footage to make it progressive when exporting or will selecting the blu ray setting do it for me at the best possible quality.
Many thanks...

will there be a combing effect when played on a computer monitor
No. Your software Blu-ray player will deinterlace it properly for you. By way of comparison, notice that I didn't say Media Player.
-Jeff

Using 1080i footage in a 720p timeline?

Just curious if anyone out there has used some 1080i footage in a 720p timeline. Does the 1080i stuff convert to 720p very well? Does it look like progressive video? I'm asking because my main camera is the JVC HD100 (720p native) and I want to know if I can match footage from the Sony Z1U (1080i) in a 720p timeline.

Unfortunately, just letting FCP do this will produce pretty unacceptable results, it just drops frames and does not deinterlace.
Shake will do this very nicely, and its recent big price drop makes it an attractive tool to have around. Alternatively, you could use a free utility called MPEG Streamclip from Squared5 (http://www.squared5.com/svideo/mpeg-streamclip-mac.html). Among many other conversion tasks, I've used it's downrezing and deinterlacing capabilities to do exactly what you want (Z1U footage to 720p) and it does a very good job.

Mixing 720p and 1080i footage in a sequence

What's the best choice to edit a movie comprised of clips shot in 720p30 and clips shot in 1080i60? "Upscale and interlace" the 720p footage or "downscale and deinterlace" the 1080i footage?
Using easy setup, one has the choice to create either a 720p or a 1080i project, and when adding a clip to a sequence in this project, the clip is automatically converted to the project's format. Therefore, this is something that needs to be decided ahead of time. Or is it possible to change the project's settings after attempting to export the sequence if the result is disappoining?

All right, but assuming that I have the choice of output format (and I do), what is most likely yo result in the best overall result? Interpolating (720p output) or extrapolating (1080i)? Intuitively, I would think that interpolating is most likely to result in less artifacts than extrapolating. So on this measure, a 720p output of a mixture of 720p and 1080i footage would be more recommendable than a 1080i output.
The good news is that you are saying I can change this in my sequence at any time.

Open jpegs from Premier CS3 in PhotoshopCS3 says locked file will not save to jpeg

When I open a jpeg or tiff, from Premiere to photoshop, and make some modifications (like simply mode to grayscale) and try to save it back to the jpeg it refuses, saying the file is locked and I should go to Explorer, properties and unlock. However the files are not locked in the properties, so my only choice is to save as another file, re-load it itno Premiere, and put it on the timeline. I used to be able to edit directly from Premier to Photoshop, and save - on CS3!
I have no clue what I might have done to cause this, except it is a fresh install of Master Suite on a fresh install of Vista Ultimate.
Any help appreciated.
Jack

I also realize that my saying, "that is the way it works for me," doesn't help you, since it doesn't work for you. Did it EVER work for you? YES IT DID, THAT IS WHAT IS PUZZLING, AND IN CS3 ALSO.
Couple of thoughts/questions:
Are you networked? YES, 2 WSIDE BY SIDE AND A THECUS RAID5 5 TERABYTE DATA BOS WHERE I KEEP MANY VIDEO AND STILLS. Are you logged in as an Administrator? I AM THE ONLY ADMINISTRATOR AND LOGGED IN AS SUCH. Are the Assets on internal (non-mapped) HDDs? IN FACT THE THECUS ACTS JUST LIKE ANOTHER INTERNAL HARD DRIVE, NEVER HAD THIS PROBLEM WITH IT BEFORE. I'M NOT MUCH OF A COMPUTER PERSON, SO NOT EVEN SURE WHAT MAPPED MEANS, BUT WHEN I WAS ABLE TO EDIT FROM PREMIERE BY SIMPLY CLICKING ON EDIT IN PHOTOSHOP, AND THE ASSETS WERE STORED ON THE THECUS, FIXES CAME BACK DIRECTLY TO PREMIERE. NOW THE SAY 'LOCKED' Any on external, or mapped-network HDDs? Are the Assets coming off of some media like CD, or DVD, and not first being transferred to internal HDDs? ALL ASSETS ARE ON INTERNAL DRIVES. I'VE TRANSFERRED SOME MEDIA TO THE SCRATCH DISC INTERNAL DRIVE AND GET THE SAME RESULT. If they originate FROM CD/DVD, are you making sure that they are not listed as Read Only, after copying? ALL I HAVE CHECKED HAVE NO CHECK ON READ ONLY. NONE ARE RECENTLY BROUGHT IN, I HAVE NEARLY 30,000 PHOTOS SEVERAL TERABYTES OF VIDEO. Windows likes to flag them that way, and it can bite you later. Anyone else on your network using these Assets? Are you using them in AE, AI, InDesign, etc., while also using them in Premiere/PS? I ONLY HAVE PREMIERE AND PHOTOSHOP OPEN, I EVEN CLOSED DOWN BRIDGE. Last, do you have Indexing turned on for any of your HDDs, as Windows loves to "lock" files, while it does its indexing. I turn this off for ALL HDDs, especially for my large externals. (Sometimes, when I move the external HDDs from workstation to workstation, XP will turn Indexing back on, and I have to disable this - happens about 10% of the time.) I HAVE RECENTLY INSTALLED COPERNIC TO DO SEARCHING, VISTA IS NOT FINDING THINGS WELL ENOUGH, IT MIGHT BE THE INDEXING, I'LL TRY THAT WHEN I GET BACK THIS AFTERNOON. THANKS FOR THE TIPS AND 20 QUESTIONS. THIS IS THE KIND OF HELP THAT THEY MEAN ABOUT RANDOM ACTS OF KINDNESS, THANKS
AND PARDON THE CAPS
JACK
"Locking" is usually tied into permissions. That's why I ask about the networking aspects.
Wish I had a quick fix for you.

Premier CS3 is demolishing my DVCPRO HD 1080i footage

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