Premiere Pro CS3 on Sony Vaio - performance question

I am running an older VAIO PCV-RX770 P4 2.2 Ghz, 1Gb RAM, ATI RADEON 9550 256 Mb graphics card with Premiere Pro CS3 newly installed. I have attached a new Seagate FreeAgent 500 Gb external drive that I have all my Source Files on. My question is this: Is there any tweaks that I can perform to this machine to make it run as as fast as possible. All drivers are up to date and all drives constantly de-fragged. When I do Start, Run, MSCONFIG, my startup tab is pretty clear, only a few things running - AGRMMSG, khooker, point32, RUNDLL32, ccApp, cfmon, ColorVision Startup. I wonder about the SERVICES tab - can anyone tell me what apps(without me listing them all here) that I can safely "disable"(if at all) here? I see the "hide all Microsoft Services" box and when checked, the list becomes smaller. When I checked the Microsoft box and then "disabled" all the rest, Premiere wouldn't start. Any help would be most appreciated. Thanx, Eric.

There are a couple of Adobe Technical Support Documents (links are in the WIki) that cover optimizing Windows for PPro. They will probably help you.
Cheers
Eddie
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Difficulty installing upgrade version Premiere Pro CS3 on Sony Vaio

I hope someone can help me. I purchased Sony Vaio multi media PC with Premiere standard factory installed. Last year I purchased upgrade premiere pro CS3 and installed it I had shared component error that was resolved with adobe tech support. the program worked flowlessly until recently my hard drive crashed and had to be replaced. Since then when I try to install Premiere Pro upgrade it has locked the program and is asking for serial number factory installed premier standard. The very first time I installed upgrade program originally it never did that . What can I do?

Contact Adobe.

Sony CX115E into Premiere Pro CS3

Hi all,
I have ordered a Sony CX115E, asking will Premiere Pro CS3 recognise this camera? If not, when I have downloaded my footage onto the hard drive, will I be able to import the footage into Premiere?
Thank you.

Alas, you will not be able to import or edit the footage as it is AVCHD.
You will either need to upgrade to CS5.5 or get NeoScene from Cineform.
http://www.cineform.com/neoscene/

Startup with Premiere Pro CS3 - few questions

Hi,
I am totally newbie to video editing (and to ADOBE CS programs).
To introduce, here's my setup.
New camcorder (Canon VIXIA HV30, HDV format, miniDV) - still in the owner manual for very basic things...
Premiere Pro CS3 (soon CS4 as entitled to upgrade)
Vista x64 Home Premium
Core 2 Duo 1.86 Ghz, 4GB RAM
Firewire card
I just started to fool around with CS3 and with this camcorder, doing some tests (I use the mini DV HD tapes).
When I capture to Premiere, here are some of the annoying things happening :
1) instead of viewing in real time what is happening, I get a multilingual screen saying that tape is being captured... (very very useful !!...)
2) when I playback the scene, I see edges of things kind of blinking white - just the edges - some sort of what I would call 'distortion' but maybe it's not the right term... Is this just a matter of not having a high-end video card and then, I should not worry: the editing I would do would not appear on a DVD or a published video ? Or, am I doing something wrong ? (last but not least: does it have to do with the camera ? - although I do not see this when watching on the camera side viewer.)
3) This camera can shoot 30p, 24p, hi-def (but HDV format - not AVCHD): what should be the setup to choose :
- on the camera ?
- when I launch Premiere and am prompted with a window to choose format?
Let's start with these basic questions...
Thanks in advance,
Rob

Rob,
1.) You *may* have problems with CS3 and 64-bit OS. CS4 is optimized to work with (though it is still a 32-bit app) 64-bit OS. Things *should* be better. CS3 works beautifully with 64-bit OS for some. Others are not so lucky.
2.) With the Capture of HDV, you will not get real-time Capture preview - nature of the beast.
3.) Can you post a tiny amount of this footage, or a still cap to show what it looks like?
Good luck,
Hunt

Premiere Pro CS3 - Preset & Media File Questions

Volunteered to create a high school football highlight video using Premiere Pro CS3 on a Mac. The video will be shown in a banquet hall using a NEC projector attached to the ceiling. The hall owner doesn't have any info on the projector, so I don't know its native resolution or any other specs. The screen is standard size.
I'm being given a potpourri of media:
1) The team's game DVDs shot from the press box. MPEG Streamclip shows the VOBs have these properties: 720 × 480, 4:3, 29.97 fps, 9.30 Mbps, upper field first - 128 AC3 2/0, 48 kHz, 256 kbps. Right or wrong, I converted the VOBs to dv files for import into PP with these properties: DV/DVCPRO - NTSC, 720 × 480, 4:3, 29.97 fps, 28.77 Mbps - DV stereo, 48 kHz, 28.77 Mbps.
2) Field level video taken with a Canon HV30 (HD, wide screen). The files I've been given are: Apple Intermediate Codec, 960 × 540, 29.97 fps, 30.09 Mbps - 16-bit Big Endian stereo, 48 kHz, 1.54 Mbps. I could ask to have these files recaptured as SD files.
3) Many side line photos (TIFFs) taken with a Canon 30D.
After editing the project, I was planning on exporting the final video/audio as a mov file to be played from my lap top hard drive rather than from a DVD. Not sure about the export settings to do this for best quality.
But first, which PP preset should I use for this project, or should I use custom settings? If so, what should they be?
Have I converted the VOBs to the proper format?
Should I recapture the HV30 footage or convert it to another format?
I have the photos in Lightroom and can export them as TIFFs, JPEGs, PSDs or DNGs and can resize them down if necessary. Any suggestions?
Finally, I was thinking of converting the background music from mp3s to aif files at 48 kHz, 16-bit to be consistent across the different audio files. Any suggestions with the audio?
Any thoughts or suggestions on these issues would be most appreciated. If the answers to these questions hinge on the projector type, I may have to wing it....or buy my own projector. Ouch.
Sorry for the length of this post.

I recommend setting up a 720x480 4:3 project. At the very least, have
them recapture the #2 video files as widescreen SD. (I'll refrain from
making any comments about the usefulness of AIC at half-HD) The
recaptured widescreen SD files will end up letterboxed in your 4:3
timeline. Your other choice would be to set up a 720x480 16:9 project,
but that would end up pillarboxing the 4:3 footage. Your choice.
I think you did a fine job converting the VOBs.
Resize the images in Photoshop. Get them as close to 720x480 as you
can, adjusting that upward to account for any panning and zooming that
you might want to do. But don't increase the size any more than you
have to. You definitely want to avoid working with huge frame-size
images in Pr.
48k 16-bit stereo audio should work just fine.
You should find out the native resolution of the projector, and whether
or not it has an internal scaler.
-Jeff

Premiere Pro CS3 Media Encoder question...

Hi,
I got a question regarding the Premiere Pro CS3 Media Encoder.
I am converting a sequence in Premiere Pro CS3 which contains footage from a '.vob' file which is NTSC, 720x480, 16:9 to a '.flv' file.
Now I'm doing this via Premiere Pro CS3 Media Encoder and it let's me choose the Width & Height but there is no checkbox to keep the proportions - which I find is very, very inconvenient...
So if I wanna convert this to a .flv file which is 400 high, the width should be 600, right ?
Also, there is no way to specify to keep the 16:9 aspect ratio.
Is that done automatically or how/where can I specify it ?
Thanx for your help in advance !
Mike

If you want 16:9. you need to consider that the lower number should probably be divisible by 72. So, if you want something about 600 wide, I would use 360 for the lower number which gives you a frame size of 640X360
When divisible by 72, it is evenly divisible by both 8, which is great for encoders, and 9, which is the frame ratio you want.
Just choose square pixels and you will be fine.

Premiere Pro cs3 performance slow

Hello, I tried checking various places for this answer but could not find the answer, so apologies if this can be answered somewhere else.
I use Premiere Pro CS3 (I have the suite). When I start to work on a project, all is well. When I get to about the fifteen minute or twenty minute mark in terms of footage that is on the time line (perhaps just one or two video tracks and then a title or two on tracks three and four), then Premiere behaves very sluggishly. When opening the project, it takes a fairly long time (about two minutes) to open. Playback always stutters, no matter what. If I select "File" or "Edit" on the top bar, I might have to wait a few seconds, or longer, for the drop-down items to appear. If I dare to do something like add color correction to a shot, or some other effect, Premiere is even more sluggish. I used to use Premiere 6.1 for years and never had a problem -- even did a massive production with enormous number of SFX, green screen, etc...no problem. My system smoked. I have a great system now (see below). Now I do a project in CS3 and am so very careful not to get near the 30 minute mark (otherwise very slow performance) and even then I feel very limited in terms of what I can dare do, lest CS3 crashes altogether. And sometimes it has. "Premiere Pro had encountered problems and will now close..." Any suggestions?
Here is what I am working with:
Pyro PCI card
650W Power Supply
Supermicro X7DAE Dual-Core Xeon Motherboard
Dual Intel Xeon 5150 (10.64 GHz Total)
4GB DDR2-667 FBDIMM RAM (4x1GB)
ATI FireGL V3350 256MB PCIe Video Card
Creative Labs AudigySE Sound Card
80GB OS/Application Hard Drive
1000GB SATA Internal Video RAID (2x500)
Microsoft Windows XP Professional
Adobe Production Suite CS3

I guess what Harm is saying is that if your hardware checks out, your footage is "typical", and no immediate solution is evident, then a re-install is often the fastest and most effective solution. If you have your OS on one drive and all your data on another, this process becomes pretty straightforward, even more so if you've "slipped" your copy of XP with all its updates. Why spend 6 hours troubleshooting and get a possible solution when you could spend 2 hours re-installing and get an almost guaranteed solution!
If you want to have a tinker before taking the plunge, there are a couple of things that I'd look at:
1) Virus Checker. Download MS's "Process Explorer" (overblown Task Manager) and see if anything is going nuts when you open a larger project
2) CS3 all patched up?
3) Hard disk cache setting. You say things go pear-shaped at about 30 minutes (about 6 gig in DV language) maybe there's an issue with your Windows Page File that is slowing things down. If you have a "hard" setting in there, change it back to automatic and see if you have any improvement. Also, where is it? across two disks? check you have enough room on your OS disk for the pagefile to work as it should.
4) Check the location of your Media Cache files. Think about trashing all the cache files for the project and see if that improves anything. Make sure that anything that Premiere will be accessing (the Media Cache Database, the cache files etc) is where it should be and not in some wierd place (like on a network share)
5) On the timeline, what display options do you have turned on? First frame/last frame? or "movie strip" view?
That's all I can think of for now... is the re-install looking more attractive?? ;-)
MP

Dynamic Link Question (with Premiere Pro CS3)

I'm using Dynamic Link to bring a composition from After Effects CS3 into Premiere Pro CS3.
It's just a basic DV 720 x 480 project - the composition lays over my video, so I'd like to use the dynamic link composition instead of rendering the composition as an uncompressed AVI 32-bit.
My question is - if I just render the dynamic link and use that in my final video edit - is there any quality loss - as opposed to rendering the composition from AE as a 32 Bit AVI and then importing that AVI into PP?
Thanks
FOO

There is no loss in quality. After all, Dynamic Link is nothing more than an invisible instance of AE that renders each frame just as AE would standalone. However, depending on the complexity of the compositions and resulting memory requirements, you may experience problems or the render may be noticeably slow.
Mylenium

Premiere Pro CS3 Capture Question (Firewire to USB Converter)

Does Premiere Pro CS3 support capture through a Firewire to USB Converter? More specifically, we have one particular PC laptop that does not have a firewire port, only USB 2.0. So we were thinking of getting a firewire to USB converter. Will that work for capturing footage from our Mini DV camera?
Camera is Canon XH-A1S HD and a firewire cable will be running from this camera to the firewire to USB converter, then a USB cable will be running out of the converter into the dual core laptop with Windows 7, 4GB RAM, Nvidia 460M video card.
Thank you!

Might work then again it might not. Have not heared of any positive results. In other words imo its a waste of money.
You need a real firewire connection.

Audio balance greatly different in Encore CS3 after encoding 5.1 master track in Premiere Pro CS3

Hello! I'm wondering if anyone can offer some advice for my DVD audio problem.
I have a Premiere Pro CS3 project with a 5.1 master track that appears to behave correctly judging by the meters when I play it in PP. It also sounds reasonable (in a mixed-down fashion, I guess) on my PC system's speakers (L,R,LFE), and all rebalancing and panning seems to work well. However, once I export the master track to Encore using PP's SurCode Dolby Digital codec, the resulting audio mix is totally off. Here's what I get: both front channels play mainly out of the right front and center speakers, and the rear channels play mainly out of the left front speaker. I've tried all different settings, but I can't seem to change this. Well I've read that Encore just sends the audio mix straight through (the DVD trancode status is "Don't transcode"), but when I build the DVD and play it on both of my 5.1 surround systems, the results are just as bad as what my desktop PC speakers were hinting at. [Actually all DVDs that Encore builds are UNSUPPORTED on one of my set-top DVD players and they're both Panasonic! So first, I first have to copy the DVD using Nero and then the copy is accepted by all. That seems to have no bearing on my audio dilemma but I thought I'd mention it. I would love to know what Nero is doing right that Encore is doing wrong!)
Anyway, here's some background: I began to notice this problem with the audio balancing whenever a .wav music source is imported into PP as a stereo source. [A side issue here - I don't seem to be able to explain - or control - how one .wav file gets imported as stereo while another is imported as 5.1!] Anyway, as one would expect, since my master track is 5.1, the stereo track is automatically set up with a rebalancing tray with the puck set in the middle. The meters show that the source is stereo and the sound has been rebalanced across the master track. If I drag the puck around, the master meters behave accordingly. Then I import my video (.avi video clip) and that sound is imported as a stereo track. For that track, I drag the puck to the rear. Again, the master meters respond correctly. So far so good. But when I export to Encore, the resulting audio mix so completely wrong it can't even be explained as a 5.1-to-stereo downmix situation. The sounds that were supposed to come out of the rear channels are in front left and center (and deafening), overpowering the music that is only coming out of front right. And the rear speakers are silent unless I turn on Pro-Logic on my amplifier, which just confuses the issue. I didn't bother to check LFE as things were bad enough.
Where I DO NOT have the problem is when the audio file is imported as a 5.1 source (although it is just a stereo CD track ripped using Sony CD Architect). In that case, there is no rebalancing tray and the track meter shows only the L and R channels active, as expected. Ditto for the master track. Now if I go ahead and send the music to a stereo submix track and let that rebalance to the master, I see all channels active. But that results in the problem above after exporting to Adobe Media Encoder using SurCode and then importing the audio into Encore. If I don't remix to 5.1, the audio on the DVD is OK. But I would like to have the music come out of all speakers when there isn't a video soundtrack as there are many still pictures in the presentation.
So the question is, if I can rebalance and pan channels in PP CS3, why are the results coming out all wrong in Encore using SurCode? And how can I hear my project on DVD the same way I mixed in PP?
Any help would be greatly appreciated!
Doug Herbst
Holmdel NJ

Problem solved everyone!!!
Rebecca of Adobe support helped me identify the root cause: project was originally set up as standard (2-channel) and although it had evolved to a 5.1 project over time, it could never grow up to be anything other than a standard audio project. After you set up the new project, the setting that controls your audio is buried in the project somewhere. Changing your project settings to set up new 5.1 audio tracks for new timelines does NOT make the project 5.1! The real audio identity attribute set at birth is not alterable OR EVEN VISIBLE (even as a grayed-out project setting) although PP will allow you to set up and mix 5.1 audio tracks at will. So you may think you're working on a 5.1 project now, but you're only fooling yourself and PP goes right along with it. Even the .ac3 files you create via export are 5.1! But dare to build your DVD in Encore and all of your timelines are transcoded back to 2.0 instantly. Resistance is futile.
A new feature in PP CS4 will allow you to view, and even CHANGE, your project's audio identify from standard to 5.1. How sweet!
Well, I've devised a way to dig out myself out of this deep hole in CS3 and it worked, but I can't promise that it will work for everyone. (This assumes you own the Dolby Digital 5.1 codec from Minnetonka.)
1. Create a new Premiere Pro project as 5.1 audio from the get-go.
2. Import your suspected 2.0 project into this new 5.1 project and click each sequence to flesh out the timeline.
3. Re-export all audio as elemental streams using Adobe Media Encoder. Make sure you export the audio component of each timeline as Dolby Digital 5.1 and exactly - and I mean EXACTLY - the same way. To deviate the audio settings for each timeline is to ask for trouble, so I recommend setting up an audio pre-set that you can just click when you need it.
4. Create a new Encore project and import all original video assets and your new replaced and, hopefully, 5.1 audio assets into it.
5. In Encore, create a separate timeline for each pair of assets (.m2v and .ac3 for example). DO NOT ATTEMPT TO PLACE MULTIPLE PAIRS OF ASSETS ON THE SAME TIMELINE! For some unexplained reason, the build process will transcode the audio back to 2.0, and if you continue pack new 5.1 audio assets on the same timeline, you will get an error message "an input contract violation has occurred" because you now have 2.0 and 5.1 assets on the same timeline, even though you really don't know that and didn't ask for that to happen anyway. (Thanks to Bill Hunt who mentioned his habit of keeping the asset pairs on separate timelines in another thread - that suggestion was absolutely essential to the solution here.)
6. In Encore, check to make sure that all of your original video sychs up correctly with the new, true 5.1 audio. Link the end actions of each timeline with the next timeline to play in the correct sequence. Check your project for orphan timelines and other errors. Then, before you start building menus and start getting fancy, build a DVD and make sure it plays as 5.1 on your system.
Tip #1: while you're re-exporting and replacing the audio files, don't have Encore running. I've seen it gracefully and automatically re-import the replaced file once the export is done, but I have also seen it choke with the terribly descriptive "Encore has encountered a problem" message upon discovered the asset is not available while it is being replaced. Encore then continues to mark the asset as offline.
Tip #2: when re-exporting and replacing files, always select audio and video separately. For some reason, Encore will allow you to replace an .ac3 file when you perform an elemental audio export, but when you try to combine video and audio and both files exist, Encore will prompt you to replace the video, but immediately abort with an error that it cannot replace the .ac3 file, thus forcing you to delete the .ac3 component manually before trying again.
Doug

Jumpy preview, render and export why? (Premiere Pro CS3)

Hi guys, When I try to import a small video that I took in my Sony CyberShot Camera DSC-S600 (in avicodec) it says my video is:
MPG1 = MPEG1 (VCD).
Resolution = 640 x 480 25fps.
If I just import that video, drag it to the timeline (below), and press ENTER, It will start rendering it without any effect that I've made, and in the playback it will like jump some frames in and out (some in reverse and then forward).
Also If i just import the video and make a playback, it will do the same, if I playback the video outside the premiere pro cs3 it will run just fine as it should be.
My computer is a A64 3800+ 4GB RAM DDR2 800mhz, GF7600 gt 256mb is my video card.
(the video I'm importing is only 16mb).
Part of the video can be located in youtube, (see link).
http://www.youtube.com/watch?v=-_73D3Rdbqk
It was saved in avi, then uploaded to youtube.
please help me.

> "...much anything that "also does" video really isn't the right tool for the job..."
If the camera video can be converted to Pro video, then it can be considered "the right tool." Jim, there are a plethora of situations where a compact still camera that shoots video is the right tool. It's your subjective definition of "the right tool" that begs up on an old paradigm. A fictional character, McGyver, never seemed to have the right tool for the job. In fact, the entire idea of invention is to create
i or adapt
the right tool for the job.
That the misinformed come here with questions does not relate. Many more are informed, take the appropriate steps and proceed to tell the story. And move people. Or get paid.
For example: I use a still camera that also shoots video as a tennis instruction tool: A one hour tennis lesson involves recording the various tennis strokes, performing a few quick edits, and placing the results on DVD for the student(s). According to you, I should bring a tripod, a bulky mini-dv video camera, etc. I should take the time to set up the equipment, before my students arrive. I should also take time to move the tripod to capture the various different angles. After the lesson, I should take time (excuse me, real-time) to capture the mini-dv into Ppro and edit.
To me, the video camera is the wrong tool for this job. Instead, I whip out the still camera that also shoots video, walk around to get the angles, shoot the specific strokes requested. Oh-and as a perk, I can take several high resolution still photographs, with a single knob turn. Back in the studio, I dump the clip files on the timeline, w/o real time capture. And I edit.
Students love the video (they don't care/can't tell about the reduced quality--they're interested in their strokes), and they
i also
appreciate the stills.
If I were doing documentary or broadcast, a still camera that also shoots video would be a poor choice indeed. But, here, I'd be stupid to bring both kinds of cameras. However, before the CEs intervened and created just the right tool, I had to bring both. And I hated it.
It's a paradigm shift, Jim. You might not be able to understand it if you suffer from perceptualsclerosis.
And now the CEs have my mouth watering, with EX-F1. Blur the line.
Keep Smiling

Importing video files into Adobe Premiere Pro CS3

I own a Sony Handycam DCR-SX63. When I import the movies I have taken onto my PC (Vista) they are .MPG files. When I import these files into Premiere Pro CS3 the video portion imports but the audio of that file does not. I have read all I can find and nothing seems to answer my question directly. I tried an encoder to see if maybe Premiere doesn't accept .MPG files. I converted it to .AVI file and tried to import and that gave me audio with no video. I tried opening the new project with a dozen different settings offered up by Premiere but every one I tried gave me the same outcome when I tried to import my video file.
Please. please. please help. I am pulling my hair out.
I appreciate any help given.
Thanks

First... To work with AC3 sound files in Premiere CS3, copy the ad2ac3dec.dll file from the Encore CS3 directory into the Premiere directory
Second... Read Bill Hunt on a file type as WRAPPER http://forums.adobe.com/thread/440037?tstart=0
What is a CODEC... a Primer http://forums.adobe.com/thread/546811?tstart=0
What CODEC is INSIDE that file? http://forums.adobe.com/thread/440037?tstart=0
Report back with the codec details of your file, use the programs below
For PC http://www.headbands.com/gspot/ or http://mediainfo.sourceforge.net/en
IF your files are MJPEG...
MJPEG edit with Morgan or MainConcept http://www.morgan-multimedia.com/
http://www.mainconcept.com/site/prosumer-products-4/motion-jpeg-codec-785/information-797. html

Premiere Pro CS3: bad video quality when exporting for YouTube

Hi!
I'm a newbie to this forum and yes, I've looked for an answer before posting. I'm also pretty new to Premiere Pro and I hope that the problem I'm having is more my fault than Premiere's (it most likely is.)
I have project, a little YouTube-Video. But whenever I export it, the quality is really poor. I've also tried rendering it with Windows Movie maker and, strangely enough, the quality is much better and closer to the original file. My big question is: what am I doing wrong?
Here are some additional info:
Adobe Premiere Pro CS3
Windows 7 Professional, 32 Bit (PC)
The movie file was shot with a Sony DSC-W170 and is an .mpg file
Video:
640x480
10418kBit/s (total: 10483 kBit/s)
30fps
Audio:
64kBit/s
Mono
32kHZ
Project settings: DV-Pal
Standard-PAL-Video (4:3 Interlaced).
48 kHz (16 Bit) Audio
I used the Adobe Media Encoder for the export, H.264/YouTube. I've also tried several other settings, but I never get as good a result as with the Windows Movie maker. Can anyone please tell me how I can fix this? (Maybe the quality of the video already suffers when I import the files into Premiere Pro? The video in the source and the cutting window is very blurry.)
Here you can see for yourself what it looks like:
File rendered with Adobe Premiere CS3: http://www.youtube.com/watch?v=LTAyx6O27Dg
File rendered with Windows Movie Maker: http://www.youtube.com/watch?v=AVeoUOfM_uo&feature=youtu.be
I hope somebody can help me. If you need additional info which I haven't provided, ask away. Thank you so much in advance for your replies!

YT is set to privet.
Keep project settings and export settings same as camera.
Try H.264 (mp4) for export instead.

Ideal Computer and Capture hardware for Premiere Pro CS3

I'm working with Premiere Pro CS3 and want to build a new computer based on the AMD platform. I'm currently looking at the AMD Phenom 9850, AMD's newest Quad-Core processor. I'm looking at pairing it with 4GB of DDR2 1066 Memory, a 1GB PCI-E x16 Video card with 4 DVI and 1 HDMI outputs, 2TB SATA 3.0GBs 7200 RPM Hard drives in a striped/mirrored RAID array, all running on one of Gigabyte's newest AM2+ mobos. I'll be running XP Pro SP3. I think I've got the computer locked down, unless anyone's got some insight for me into the specs on it. Also, does Premiere Pro CS3 take advantage of Vista's 64-bit yet? I hate Vista with a passion, but if I'll get significant performance increase from it, then I'll make the migration.
My big question is this: what's Adobe's recommended capture hardware? Budget isn't necessarily a consideration and I'd love something that's got HD-SDI BNC I/O in addition to the standard composite, YCrBr, and DV I/O. I'd also like something that has good pro-audio I/O integrated. Ideally something that would include multiple analog I/O via 1/4" or XLR as well as digital I/O via ADAT lightpipe and AES/EBU. BNC wordclock I/O would be nice too.
Any recommendations? I'm fairly new to the video world, though I've been in the pro audio business for ten years.
Thanks in advance!

>2TB SATA 3.0GBs 7200 RPM Hard drives in a striped/mirrored RAID array
For video, RAID 3 is your best option, found primarily on Areca cards.
For the kind of ins & outs you're looking for, I think the Matrox Axio will be your only option. That's ain't cheap, though.

Adobe Premiere Pro CS3 3.2.0 update

Thought I'd share a bit of information on the 3.2.0 update that will be coming out via AUM this morning. The update will come out first via AUM, then will be available on the updates page shortly after at http://www.adobe.com/downloads/updates/?ogn=EN_US-gntray_dl_updates.
The readme will also be hosted at http://www.adobe.com/support/documentation/en/premierepro/releasenotes.html.
Dave Helmly has posted about the update on his blog, as well: http://blogs.adobe.com/davtechtable/2008/04/xdcam_and_premiere_32.html#more
New in this release:
- This update adds compatibility with the Sony XDCAM range of cameras. This includes disc-based XDCAM and XDCAM HD cameras., and the newer SxS-based XDCAM EX cameras. Content from XDCAM cameras can be imported and edited natively without transcoding or conversion. This makes possible similar workflows to Panasonic P2, including the ability to edit content directly from XDCAM EX cameras.
- Note: Adobe Premiere Pro CS3 3.2.0 does not support IMX editing or XDCAM HD50 editing at this time. Export to XDCAM is also not possible.
- Adobe Premiere Pro now has presets for HDV 24p. Note: Adobe Premiere Pro does NOT support print to tape in 24p mode.
- Improved handling of MPEG streams (e.g.: HDV video), along with error detection. MPEG stream errors can occur during recording due to tape dropouts, record start/stop glitches, timecode breaks, etc. Bad frames caused by these MPEG stream errors are identified during import/indexing or playback. These frames will play back as full red frames to alert the user that there is a problem in the encoded video at that location. Adobe Premiere Pro will also log error messages to the Events panel, indicating where the error(s) were encountered in the stream. Users can open the Events panel, determine the location of the MPEG stream error, navigate to that location in the clip and take corrective action, such as trimming out the video glitch or covering up the red frames with duplicated good frames copied from before or after the glitch. Note: MPEG files will need to be re-indexed to take advantage of the improvements in Adobe
Premiere Pro CS3 3.2.0. For more information, please see Working with MPEG Files.
Notable fixes:
- Titles/Footage no longer show up as offline when reloading saved projects.
- Rendered preview files no longer missing when reloading saved projects.
- Certain filters and/or transitions are now applied correctly when reloading saved projects, until the timeline is forcibly refreshed.
- When exporting via the Adobe Media Encoder, there is no longer a long delay before the progress dialog shows and rendering resums (Mac OS 10.5.x only).
- 24p HDV clips shot on a Canon XH A1 no longer come in incorrectly as 30 fps clips.
- Creating an offline clip in the project window then attempting to link it to media on disk no longer results in the application crashing.
- QT PAL movies rendered out of Adobe After Effects® software are no longer incorrectly identified as requiring rendering in a Adobe Premiere Pro PAL project.
- DV Clips of certain specific durations are no longer incorrectly identified on the timeline as requiring rendering.
- For P2 DVCPro clips, the right-most pixel column no longer contains video garbage.
- Fixed a memory fragmentation problem that would occur with projects with many custom bin columns.
- Fixed a bug where exporting to a QuickTime movie (with QT 7.4) would crash the application.
- Selecting "display only exact name matches" when relinking clip no longer crashes on Leopard.
- Fixed an issue where 30p and 30f HDV clips would incorrectly be identified as requiring rendering in a 29.97 progressive project.

Harm,
I don't use HDV, so I'm not sure if this is the case or not, but in the top post, there is mention of having to re-index the MPEG files "to take advantage of the improvements in Adobe Premiere Pro CS3 3.2.0." While it seems this should be an automatic process, maybe wiping out the previously-created index files (I seem to remember them being in the Media Cache folder when importing MPG files from DVD rips and such) would let the project open. Or, maybe the old trick of importing an existing project into a new one? Just a couple thoughts...
To the other poster: surely, I don't jest. At least, not when it comes to anything in the video production industry and my operation in it. Long ago, I gave up expecting perfection from any particular piece of hardware or software, and just focused on being creative. That's why I got into this. I refuse to let any piece of equipment dictate what I can or can't do--I just find another way around. Funny how we managed to make it as a species and a civilization as long as we have, and now that computers are here to make our lives easier (*snort*), we're quick to raise our ire about everything that's wrong with them. That's why I will always marvel at things built long ago prior to the advent of all the technology we take for granted today.
Anyway, we're all entitled to our opinions, and I've taken this thread completely off-topic. My apologies, so...

Premiere Pro CS3 on Sony Vaio - performance question

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