Premiere Pro CS3 to Encore encoding time.

Hi everyone, I have a move timeline, and its about 1h 30m long, and I'm just trying to burn it to disc to play in my DvD player. Currently it is an AVI file. I understand that to do this with Adobe, i have imported the AVI file to my timeline in Premiere Pro and then I must export to Encore, direct to disk, no menus. I've got all this working however the encoding time is enormous, 30+ hours, for such a simple movie should not be right, I was wondering if there are other faster options? Im running a 2.66 Ghz 1.5 gb Ram windows xp computer.

> Currently it is an AVI file.
Why not put the AVI straight into Encore, bypassing Premiere altogether?
For 1h 30min a long encoding time is normal, your CPU is not the greatest which is why it takes long to encode.
Encoding is CPU intensive. Premiere CS3 takes advantage of more cores, trust me it works.

Similar Messages

Exporting project from Premiere Pro CS3 to Encore CS3

If I export and specify no menues and specify burn, medium quality to DVD, Encore asks me to insert blank media into a CD R/W drive. I have to cancel the operation and select the DVD R/W drive that is also displayed in the device delection.. How do I make it default to the DVD R/W drive when asking for blank media?

Starting with a search is always a good idea... here is some previous discussion
http://www.adobeforums.com/cgi-bin/webx?128@@.3bc4c6ee

Encore & Premiere Pro CS3 with Photoshop CS5

Hi,
I have the CS3 suite on Vista 32 bit. I was wondering if I can keep the Premiere Pro CS3 and Encore CS3 and only upgrade Photoshop to CS5. Has anyone had any compatibility issues using this combination? Can Encore CS3 menus be easily edited in Photoshop CS5?
Thanks

Welcome to the forum
You cannot upgrade to a standalone program from a Suite.
But to answer your question: yes you can edit Encore CS3 menus with Photoshop CS5.

Trouble Importing MOV files in adobe premiere pro cs3

Hi,
I just bought a Canon 60D camera and I am using adobe premiere pro cs3 for the first time.
I tried to import MOV file footages made by my Canon 60D, but it says that my files are not supported.
I don't know what to do!
Can someone help me?
Thank you.

Hi All,
Let me tell you how I solved the XDV9 codec trouble on my Windows 7 system. The solution is rather stunning because I am using completely free software. First download the Shark007 codec pack for your system here: http://shark007.net/forum/Thread-Setup-and-usage . Please be aware that the codec pack installer comes with a toolbar install option so make sure you de-select this option during the installation process. After installation check the MOV tab on the "Settings Application" program. Make sure "use LAV's splitter" is selected for MOV Playback.
Now comes the crazy part... To convert the XDV9 MOV video clips just download Windows Essentials Movie Maker for Windows 7. At this moment more info about this program can be found here: http://windows.microsoft.com/en-US/windows-live/movie-maker-get-started . Again, make sure to set the right settings during installation otherwise you will be installing a lot of possible unwanted crap like Windows Live Mail, Windows Skydrive etc.
Movie Maker has quite good settings for converting (High Definition or custom settings are supported). Select your clip, or select multiple clips to create an unedited full length clip of all your clips, and then select "create movie". I used the "use recomended settings for this project" settings as it matches the source file resolution and frame rates etc. It is quite some work to convert clips like this but its the only free solution I could find so far.
Good luck!
Rodger

Premiere Pro CS2 upgraded to Premiere Pro CS3

Hi all,
I currently have Adobe Production Studio Suite(CS2) installed on my PC. We have purchased Premiere Pro CS3 (with Encore CS3 & OnLocation) do I just install PP CS3 etc which will obviously just be installed alongside Adobe Production Studio Suite(CS2)?
My questions are: Is there a way to uninstall PP CS2 out of the Production Studio Suite? Or do I leave it and just work with PP CS3? If so will they interfere?
Thanks in advance.
Craig.

Leave it. They will not interefere and you may want to use it to modify older projects.

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

Premiere Pro CS3 for Mac timeline encoder application options

What options (Procoder-like) do I have for Mac Premiere Pro CS3 timeline encoding? Appreciate any application suggestions.

I understand that you get more options on the Win Platform. If your
looking for a specific option that you intend to use alot, then you will
certainly want to factor that in when you make your OS choice.
But just having lots of options in itself is not, in itself, a good
reason to base your choice on. The Mac platforms tend to be more
quicktime based, but your encoding options are varied allowing you to
create delivery formats for a range of end users, from tiny Ipod size
video to lossless formats that most any other platform will handle with
no difficulty. Of course you have the standard DVD export routines, and
you also have flash video export routines.
For import concerns, I have found a program called Visual Hub to be
quite useful in conversions. I've found it to be able to quickly convert
most everything I throw it at, specifically those xvid and divx file
that tend to be problematic for NLE's on both platforms.

On-Screen Countdown Timer in Premiere Pro CS3?

Greetings. I have been assigned a small video job for a local church. Essentially, I need to have about 3 minutes of video showing pictures and a "countdown timer" to cue the church attendees of how much time remains before the service starts. Essentially, it's a gentle "get to your seats now" kind of prompting.
I've got the project laid out with pictures and words. What I really need is the ability to have an attractive "T-minus" kind of countdown timer showing each second, starting at 3 minutes.
Does such a technique or tool exist within Premiere Pro CS3?
I thank you kindly. Thanks for reading. Cheers!
Todd

The effect is not native to Premiere. You may be able to tweak the Timecode effect to suit your needs, but I've never tried it myself.
After Effects may also have something, but I'm less familiar with that program.

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 Encoding Error

I'm supporting an end user who has been using Premiere Pro CS3 for years to develop and encode videos on their computer.
Recently, they have been experiencing an issue with one particular project they're been attempting to encode. The project is nothing out of the ordinary, various video and audio files, a little bit of text. They're trying to encode the project down to an MPEG2 format for burning to a DVD.
The problem occurs about 20%-30% through the second pass of rendering. Premiere Pro will give an application error, stating that memory referenced cannot be "written". The program then shuts down and the attached Event Viewer log is written. I've done research, but haven't found any items relating to these errors.
The only major change that I know of on his computer was that Adobe After Effects was installed recently. I don't know the version level of After Effects installed.
Premiere is up-to-date. The user demonstrated the ability to encode other projects, both larger and smaller, without issue. All of the files been used as part of the problem project have been used in the past without issue. I'm having the user deconstruct their project to try to identify any layers or files that may be causing the problem. Rather than go through that tedious tasks, I'm hoping someone has an idea of what's going on.

If the project have captured video, this problem can be caused by defective capture. Frames of captured video can have compression problems even not having any apparent defect when they are showed. Since some compressions are inter frames, the compression can have defects during the capture. the funny is, the appearance of those frames can look like normal (since human eye cant see and scan those thousands/millions of pixels one-by-one and detect which one is defective).When you are about to encoding it, or "trancode" it, the change from a defective compressions to a mpg2 DVD for example make the program crash.
If thats the case, u can check in which frame Prem crashes, get the clip to AE and re-export it to a completely diferent format and compression, them replace the Premiere clip by the new one.
o/

If you have premiere pro CS3, do still need to buy Encore CS3 to use all its feature?

I have purchased and installed premiere pro CS3 on my computer and according to the documentation that came with it, it says that Encore CS3 is include with premiere pro CS3, does it mean that I dont need to purchase Encore CS3 as a standalone software, and be able to use all Encore CS3 feature inside premiere pro CS3. Thank you for your help.

If you purchased the physical media (DVD install disc) you have it
If you purchased via download, read...
FAQ article
Converting Download Trial to Registered
(read subject
How do I convert a trial version to a version for unrestricted use?)

Audio in Premiere Pro CS3 appears on one PC, not the other

Hi everyone,
I'm the Network Administrator for a high school and we have a digital media lab here using Adobe Creative Suite 3: Master Collection. All systems here are running Windows XP Professional and are on a Windows domain. All users are standard users, with no administrative rights for obvious security reasons. When I originally did the deployment of the lab by running sysprep on a reference computer and using ghost to deploy the rest of the computers, I noticed a problem with Premiere Pro CS3 after the deployment. In that lab, none of the computers would capture video via firewire and the built in capture function in Adobe Premiere CS3. I believe I have a post about this on these forums that was never resolved. To get around this, I'd capture the footage for students in my office and then transfer it over to their network drives so they could import it into Premiere Pro CS3 and edit the footage.
Recently, the school purchased some HD cameras that record to a built in hard drive or an SDHC card. The idea here was that the .MTS files could be copied from the camera to the computer running Premiere Pro CS3, the media files in .MTS format [at 1280x720] could be converted using KoyoteSoft's Free HD Converter using the settings MPEG2 [a preset], MPG2 as the format, 1280x720 // 16/9, 29.97 FPS, 9000 video bitrate, and 224 audio bitrate, and then the new media files could be imported into Premiere Pro CS3 and edited using the HDV 720p30 preset within Premiere Pro CS3.
This works great...on my office computer.
The problem is that if any student tries to import their footage on a computer in the digital media lab, the converted media files, the exact same ones that just imported into my Premiere Pro CS3 installation on a computer in my office with identical hardware as the computers in the digital media lab, fail to import the audio. I can see the video with no problems in the lab, but no audio layer appears. If I right click the video file and choose Open With> VLC or another media player, the media plays fine with audio. All audio/video codecs that are installed on my machine are also installed on the digital media machines. If I right click Adobe Premiere Pro CS3 from within a student account on those computers and choose Run As and use the local administrator account, Premiere Pro CS3 does the exact same thing, it still can't see the audio. Adobe CS3 is fully up to date on both my office computer and all digital media computers.
Any help fixing this would be greatly appreciated, spring break is coming up here this coming week and I'll be here all week. Hoping to get this resolved during that time so students can edit their own movies. Again, video imports, audio doesn't. No audio layer appears.
Thanks!

See if this helps... To work with AC3 sound files in Premiere CS3, copy the ad2ac3dec.dll file from the Encore CS3 directory into the Premiere directory

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 and Adobe Media Encoder running slow

Hello everyone,
I'm having trouble with CS4, which is running significantly slower than CS3 did on a older machine. The CS4 suite is installed on a Dell Precision M6400:
Windows Vista 64-Bit
Intel Core 2 Duo CPU T9400 @ 2.53 GHz
8 GB RAM
NVIDIA Quadro FX 2700M Graphics with 512MB dedicated memory
The OS is running on a 57.5 GB HD (C:) and the Adobe suite is installed on a 298 GB Solid State HD (D:), except for Adobe Media Encoder, which is installed on the C: drive.
My project has 4 15-16 minute sequences. The sequences are in DV NTSC, 29.97 fps, My scratch disks are set to a folder on the C: drive. Media Cache Files and the Media Cache Database points to a folder on the D: drive.
These are some of the problems I'm having:
- Premiere Pro CS4 generates peak files every time I open a project
- It then takes 3-5 minutes to render before I can preview a 16-minute sequence
- Adobe Media Encoder takes 5 hours to render a 16-minute sequence (as flv) that has been previously rendered
- AME takes 1 hour to render every 15 minute sequence that has never been rendered before
Are my settings affecting their performance? Is there any way to improve it? Thanks.
(Premiere Pro is the only app that is slow)

The data rate for replay is one thing, the data rate from disk to memory then from memory to CPU and back the other way are different matters and ought not to be confused. It is well-established that for a computer to edit AVCHD you need top end components, and note that I said there were three tasks to distinquish with increasing hardware requirements, namely merely replaying the video, specifying edits in the editor and then the rendering. It is commonly accepted by all the industry vendors that to do remotely commercial AVCHD rendering you need a minimum Quadcore CPU then that eats data fast, in order to not let it go to waste you need a fast motherboard bus fast memory and in order for none of those to go to waste you need the fastest disk set-up you can manage. I in fact have a 4-disk RAID0 volume using SATA (I think the disk model is SATAII but I have to await return from the repair center before I can confirm). For this RAID0 volume I have run speed test software from BlackMagic because I have one of their HDTV capture cards. It recorded that this volume which remember is doing parallelised IO is just fast enough to receive a encoded HDTV stream from the BlackMagic card but too slow to receive an uncompressed HDTV stream, indeed when I tried both I found the volume did keep up with compressed but fell behind with uncompressed. Remember that with a RAID0 volume of 4 SATAII disks a given file gets spread over the four disks and hence IO is spread over those 4 3G/s data lanes. Also remember with these disks 3G/s is just a burst speed, for AVCHD we are interested in sustained serial IO which is much less.
Before my machine broke down, I found that it took 5 hours to render 33 minutes of HDTV albeit as it went along it transcoded from AVCHD to a Microsoft HD format for Vista-only. Another interesting thing is that I found that the longer this render ran the slower it became, the estimated time started at 3 hours but the actual was five and the last one third took maybe 3 hours. Because the machine broke after that run I couldn't figure the bottleneck. For my machine bear in mind that at the repair shop we found that the Quadcore had only half the necessary electrical power plugged in, the monitor software showed however that it constantly ran around 90% of whatever capacity that reduced power supply permitted. Now then we can puzzle over why it got slower and slower and yet CPU consumption remained consistent and near to full capacity, memory was not the bottleneck because that was constant at 6.4G. But you can say that this was maybe performing like a Dualcore and was hitting some sort of wall, if you had a 1 hour render with that rate of degeneration of performance factored in what would happen to the render time, and for 3 hours you could be running indefinitely. I hope when the machine comes back the correct power supply will make it behave like a Quadcore should for this type of application. Anyway I have two theories for the degradation. First is just that PrProCS4 was getting its knickers in a twist and thereby just doing more computation per minute of video to be rendered as time went by, maybe internal resource management related to OO-type programming maybe, or related to disk IO falling behind, both these theories have problems, for the latter the CPU usage should then have dropped also.
Anyways, you need really a Quadcore system and blazing fast disk to work fully with AVCHD commercially, we found an external SATAII disk so if I were you I would just go get one and move on with your life.
Message du 03/06/09 16:08
De : "Jim Simon"
A : "JONES Peter"
Copie à :
Objet : Premiere Pro and Adobe Media Encoder running slow
For AVCHD you MUST have FAST disks.
AVCHD actually has a lower data date than DV. You need lots of CPU muscle, but disk speed is really not a factor specific to AVCHD. Anything that works for DV will work just as well for AVCHD (and HDV as well).
>

Importing AVIs into Adobe Premiere Pro CS3 !!!

Heres what Im trying to do: We have been working on a PC Leitch Velocity Q NLE system for the past couple years and just got 2 new Matrox Axio LE NLEs with Adobe Premiere Pro CS3. We are trying to get all our old projects from the Velocity system onto our Matrox systems and not sacrifice any of the video quality. I've been thinking that the best way to do this is by compressing old projects to AVI format from the Velocity system and move them over to the Matrox using an external hard drive.
I was actually able to bring in an AVI from the Velocity system onto the Matrox yesterday using the same Velocity settings below, except that I changed the aspect to 720 x 480 and the audio sample rate to 48,000. When playing the video on the timeline in Premiere the video looked great on my computer monitor but on my external NTSC monitor all motion in the video looked a little jerky as if frames are missing. I tried importing the test clip into both Matrox uncompressed 8-bit and uncompressed 10-bit projects and had the same resulting jerky looking video. Even after rendering the clip the video looked the same. Then I tried exporting the clip to mpeg using the Matrox media encoder but saw no change in the jerky movement. Here are my project and export setting for both systems.
The AVI was made on a PC Leitch Velocity Q NLE system. My project settings on the Velocity system are;
29.97 drop frame
720 x 486 24 Bit
Interlaced field order B
Sub pixel off Cropping off
Audio:
16 sample
44 / samples / second
2 channel
Export settings are; (These are the settings I was trying the first time that didnt work. All I changed the second time was the aspect ratio to 720 x 480 and the audio sampling rate to 48.)
AVI
Frame rate 29.97
720 x 486
No Compression
Color 24 Bits
Field handling interlaced field order B
Audio:
16 sample
Sampling rate 44
2 channels stereo
Do you recommend compressing the video coming out of Velocity?
There are a couple other options other than No Compression in the export dialogue such as: Microsoft H.263 video codec, Microsoft H.261 video codec. I definitely want to maintain the highest quality possible.
Matrox Axio LE project settings
Editing mode: Matrox NTSC
Timebase: 29.97 fps
Video
Frame Size: 720 x 486
Pixel Aspect Ratio: D1 / DV NTSC (0.9)
Fields: Lower field first
Display: Format 30fps Drop Frame Timecode
Audio: Sample 48,000 Hz
Display: Audio sample
Video Rendering: Maximum bit depth is Unchecked
Previews: File format Matrox uncompressed 8-bit NTSC (tried Matrox uncompressed 10-bit too.)
I think the jerky video might be due to dropping frames but Im not sure.
Any help is greatly appreciated!

While it seems that the field order is consistent, I have seen issues where converting from clips that change field order creates this sort of problem. This is particularly obvious when converting from MJPEG codecs like Meridien or Miro/Pinnacle to DV.
What happens if you just import the files into Premiere and let it do the rendering to the project settings?

Premiere Pro CS3 to Encore encoding time.

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