Rendered .tiff pictures degrade in quality in Premiere Pro

Hi,
I have tiff images with text exported from Photoshop an brought them into a timeline in Premiere Pro cc 2014. However, when I render out the images their quality seriously degrades during playback, but returns to normal quality when I pause. Any areas on how to fix this? it would be greatly appreciated.

There are settings that change the resolution of the playback depending on if the picture is moving or still. I'm in the middle of a long export at the moment so I can't find the menu exactly but it should be either by the program monitor or on the timeline (top right)

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Poor still image quality in Premiere Pro

Hi, I am new to Premiere Pro. A couple of weeks ago I made 2 slide shows using still pictures from a school trip to Washington DC. I added .m4a audio files and they look great. Today I made 3 more slide shows, same sources, but the picture quality isn't there. It seems I must have changed something? The quality of the pictures varies, as they come from different cameras, but when I have a high quality picture - for example 5 MB - that looks great in Windows Photo Viewer, it still looks bad in Premiere Pro. I'm using Fit and Full, pictures look bad in the smaller window and when viewed full screen. This is before any exporting.
It occurs to me that I didn't know about rendering until I watched a tutorial, now when I make changes I hit enter to render. Could that have anything to do with it? I see my Arlington video isn't rendered now (shows red sections), and it's one of the ones that looks good.
Typically when I create a project I choose Frames for Display Format and HDV for Capture Format. I don't see any differences between the old and new projects.
I'm supposed to hand out DVDs at school tomorrow, it's the last day so I need help! Thanks

The list is valid if you save the file in square pixels.
However, I believe there is an easier way if one has
Photoshop.
In Photosohop, you can change the image pixel
aspect ratio directly. The drop down for that parameter lists common video formats.
Change the PAR first (e.g., 1.33) and then, using the crop tool set for the frame dimensions, e.g., 1440 x 1080. Save the file. Premiere will recognize the image format. There's no reason to keep track of what the square pixel frame size is.
You can create Photoshop Actions to somewaht automate this process.

Smart rendering for DNxHD quicktimes not working in Premiere Pro CC

Hi if I understand things correcty PPCC should be able to smart render DNxHD codec in a quicktime wrapper back . If so this does not appear to be working. I am noticing small differences if I pull in a DNxHD quickitme clip in to Premiere and just render straight back out again no effects just cuts as DNxHD Quicktime. My sequence is set up to be the same as the codec. Although I do notice that trying to set the exact settings for the quicktime codec is not easy as it resets back to the defaults of DNxHD 220 59.94i so maybe this has something to do with it and their is no option to choose the MXF setting for my medi a as Adobe have neglected to make a DNxHD115 preset.
If you look on the YC waveform you can see the changes occuring when you compare the two side by side. This however does not happen if you render out as Opt1a MXF as it does appear to smart render and when ingested back in you see no difference with the source DNxHD clip. I also notice that when you choose the Opt1a option it has an extra check box for smart rendering.
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Simon

Hi Simon,
Here's what I have for you:
Smart Render support for DNxHD wrapped in QuickTime was added in Premiere Pro CC
You must have Avid codecs installed
No option to check to enable smart rendering is needed, Premiere Pro always tries to smart render by default
The first thing I would check is to see if the DNxHD (QuickTime) codecs are installed or not.
Thanks,
Kevin

Two Different Imported TIFFs Show The Same Image in Premiere Pro

I noticed sometime ago that some imported TIFFs with alpha channel are not showing the correct image. Recently I upgraded to Premiere Pro CC (for PC) to see if such issue was solved, however it is not.
Basically just importing the TIFFs into the project panel results in Premiere showing the same text even though the actual TIFF files contain different text. This is quite bizarre. No other software (including FinalCut Pro) displays such odd behavior.
I have uploaded the two TIFFs that replicate this issue consinstently here: https://drive.google.com/folderview?id=0B2IT1EAcyLlBZXRlMDkxNzY3d1U&usp=sharing
To replicate, just create an new empty project and import these two TIFF files. You will notice that both show the same text within Premiere while outside they indeed show the different data.
Anybody has any clues on why this is happening and on how to solve it?
Thanks in advance for any help and clues.
Valerio

Thanks for your reply.
At this moment we can't export PNGs with an Alpha channel so we are stuck with TIFFs.
It is a bizarre issue though.
Here is a Dropbox link for the images, seems Google Drive download links are buried deep:
https://www.dropbox.com/sh/gktixc0cdbhr3oz/jPCI8yciY-

Best quality dvd-premiere pro or encore

hi all-some advise needed.
I want to make the best quality professional wedding dvd for a client nd I have a few options and i just want to get feedback on which is the best method.
pc=win xp, prem pro 2 and encore 1.5, PAL, 4x3 plenty of hard disk space, 2gb RAM
wedding is 2 hour long but am I splitting in 2 to get the best quality
I think have 3 options-which is the best?
Option 1 build the DVD in premiere pro via DVD layout (nice wedding menus as well)
Option 2 export the encoded wedding via the encoder (media concept i think) and then just import and build the menus and dvd in encore
Option 3 export an uncompressed avi file via file-movie-export into encore and let encore do the encoding and build the dvd.
What do you guys think? Am i missing any other better options?
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Paul

labrisher wrote:
IIf in laying out the DVD in Encore you find that you'd like to change something in the Premiere file after you've imported it into Encore, you simply make the change and re-export the movie to the same name/directory etc. i.e. overwriting the previous file.
I cannot stress how strongly I disagree with this method. You should never, ever overwrite an asset that is used in Encore from outside of Encore. That is asking for big trouble, and if you don't get bitten by it right away, you will get bitten by it eventually. Instead, you should add a version number to the modified asset, and then use the Replace Asset command. Another good method if you're using an all-Adobe workflow is to use Edit Original, which will open up the program used to create the asset. When you finish the modifications, saving will update the asset in Encore, and make sure that all links to all supporting files are maintained.
The worst thing that can happen using labrisher's workflow is that your Encore project will crash with the dreaded PGC error, or some other fatal error, and you will never be able to recover and build a finished disc, disc image or set of DVD folders. You will then have to rebuild the project from scratch.
-Jeff

Rendering Engine (Transcoder) in AE vs. Premiere Pro

Hello,
I have some pretty title-intensive footage that I shot in HD that didn't come out to well after I downrezzed it in Premier Pro with the expert guidance of Jeff, Bill and others.
So we can be pretty sure I performed that export in Premiere Pro competently.
But I recall that AE has far greater capability to work with titles and text than Premiere Pro, so it stands to reason that the transcoder of AE may well render and downrez text better than Premiere Pro. Additionally, an experienced user asserted that the transcoder in AE has much to recommend it.
Here is a sample of the title-intensive, colored data streams I am trying to downrez to SD, with limited success in Premiere Pro.
All these text streams are streaming in different directions. I admit that can be pretty challenge to downconvert.
FOR THE RECORD, these titles are pretty much broadcast safe, pursuant to a link about downrezzing titles to SD provided by Bill Hunt.
Any thoughts?
How does the transcoder of AE differ from that of Premiere Pro?
Thanks!
Matt Dubuque, Twitter Time

DownRez has a bunch of meanings. If by downrez you meant going from HD to SD and watching the rendered result on TV then you will have interlaced issues with your fonts that are difficult to deal with. If you mean downrez to go from 1080 to 720, there are other issues. Not as many, but there are still issues. If you're going even to other sizes there are still issues.
Let me detail just one issue. The font example you provided has serifs and varying line widths. In the top line the words "don't get destroyed" for example show me a bunch of problems when downsizing. Say the narrowest part at the top of the "o" in "don't" was 2 pixels high and you size your 1920 X 1080 comp down to 720 X 480 (NTSC) the narrow part of the top of the "0" is going to be less than 1 pixel (oops, there's nothing less than 1 pixel) high so it's going to go funky on you. It will also flicker on TV because the line will be 1 pixel wide and 1 pixel wide horizontal lines will always flicker on an ntsc display because of interlacing.
Throw in compression artifacts, motion artifacts, and noise that is introduced just by the huge contrast difference between your white type and the black background and you're got all kinds of other problems with the design.
TransCoding is best handled through the Adobe Media Encoder or other 3rd party encoders because there are more options that you can get with the Output Module in AE, but even the best endoding in the world, to the best codec in the world won't fix design problems that break the rules. I don't know any way to make the small type at the top of and bottom of your example look as good on a SD device.
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MPEG4 in, MPEG4 out: why getting bad quality using Premiere Pro CS3?

I have to edit a great number of MPEG4 footage (H.264, 720p, 29.97 fps), created with a Samsung NV24HD camera. They have a good quality regarding sharpness, contrast, color. I want the final movies as MPEG4 files, in the same format as the sources.
When I export an edited movie using the Adobe Media Encoder of Premiere Pro CS3, the quality is disappointing. A lot of details are lost and the contrast is less than the original footages. Further, I see that the size of the movies are reduced with about 30%.
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My questions are:
1) What's wrong here?
2) Is the method using the Adobe Media Encoder of Premiere Pro CS3 the right one to do this job?
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created with a Samsung NV24HD camera.

Video rendering and playback option greyed out on Premiere Pro CC 2014

I cannot even click on the Video rendering and playback drop down menu as it is greyed out.
I have a GeForce GTX 660 2GB card which should be supported as it has enough memory. I am on Windows 7.
Would really appreciate if someone has a solution how to enable Mercury Playback Engine in this situation.

Managed to fix the problem by downloading and installing the GeForce CUDA drivers as well as updating graphics card firmware.
The Mercury Playback engine enabled itself in premiere after the updates.

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We use CS5 (have been using Adobe since 2004). I open a sequence (edited in Premiere with no fancy effect - just open title & closing title - length 4 minutes). It is HDV so nothing special or out of the ordinary.
If I render the sequence by going to FILE => EXPORT => MEDIA and export this way it will take approx 1 minute to render the file.
If I close Premiere and open Media Encoder and import the same sequence and render with exactly the same settings, it will take 10 or 11 minutes to render.
I have tried most obvious areas such as closing all other programs and only opening media encoder, as well as making sure the RAM allocation is the same for media encoder, but nothing seems to make Media Encoder render at the same speed.
It doesn't matter what the video format is on input or export ... media encoder is always so much slower.
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Hello Jeff,
thank you very much for the speedy response! I am very impressed
Your reply pointed me in the correct direction. In my case I had ticked Maximum Render which made the encoding 10x slower. The deinterlacing doesn't affect the speed much on our set up.
Anyhow, I unticked the Maximum Render Quality and it is now at full speed again. Lovely!
Thank you for your time.
Richard

Horrible video output quality with Premiere Pro CS4 + Adobe Media Encoder

I am trying to make some changes to a DV format file, and output as the same DV format. When the video is brought into Premiere, it looks crisp in the left-hand video box. But, when playing it on the right window and when encoding it, it comes out as a mess with substantial compression artifacts.
What confuses me is, I have experimented with a lot of codecs--even uncompressed AVI. There is no change in the video resolution--source is 720x480, as is output. I am keeping all the pixel aspect ratios the same as the source footage.
What is creating this distortion? I have no scaling of the video whatsoever in the sequence...
Is there some compression box I'm not seeing here?
I've attached a screenshot of a still from the video. As you can see, substantial artifacting around the lettering, making the text unreadable.

Some suggestions and answer at least the 16 questions at the end of the Wiki article.

Not rendering the smallest of changes in Adobe Premiere Pro CC 2014

Hello,
I am trying to create a very simple video with only a few layers of color mats moving in the background and footage on top. With minimal movemet and very basic tranbsitions I am unable to play back or render ever just three seconds of my video to see what I have done. I have checked my Task manager and found that there is nothing running in the background, I have uninstalled Premiere, rebooted and reinstalled. I have tried saving as a new project, new timeline, new sequence. Not sure what to do as it has brought my work to a stop.

Go to Project Settings/Scratch disks.
There you will find the path where the auto saves are located.

Improve video quality (Premiere Pro CS4)

Hi everyone,
I've been given an mpeg file that's really low quality, ie. it has a lot of compression artifacts. I wondered if there was a way to somehow improve the quality using premiere pro. I've never use this program before so would probably need basic instructions if there is a solution.
Appreciate any advice.

As John T. points out, once heavy compression has been done, there is no undoing it. The bits of data are just no longer there.
Now, one can improve some aspects, but this is just making something bad, a bit less bad. Depending on the footage, a bit of Levels (not Auto-Levels), a bit of Highlight & Shadow (turn OFF Auto and then change the setting down quite a bit), Fast Color Corrector, perhaps Neat Video (optional plug-in from Neat Video), and then a touch of Unsharp Mask as the final. That might improve things a bit, but do not expect magic, as it is not going to happen.
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When you're zooming/panning on stills in Premiere Pro, does it matter what image format the stills were scanned and saved as???

I have several hundred stills that that were scanned at 600dpi in jpeg format. I know that 72dpi would be the norm for images in video, but I intend to zoom in at least 200% on many of the stills. So just to be on the safe side, I scanned them all at 600dpi.
In terms of panning and zooming on stills in Premiere Pro, does it matter that the images were scanned as jpegs rather than tiffs or png files? Will that cause problems in Premiere Pro CC for playback or does the image format not matter? If so, would it be wiser to convert all the jpegs to png or tiff files prior to importing into Premiere Pro CC? I understand that they would have to be tiffs or png files to have transparency for compositing purposes. But I only plan to do Ken Burns style moves on the stills, no compositing.
Thanks very much in advance.

Hi Ninose11,
ninose11 wrote:
I have several hundred stills that that were scanned at 600dpi in jpeg format. I know that 72dpi would be the norm for images in video, but I intend to zoom in at least 200% on many of the stills. So just to be on the safe side, I scanned them all at 600dpi.
DPI doesn't matter in video, look at the frame size of these images instead.
ninose11 wrote:
In terms of panning and zooming on stills in Premiere Pro, does it matter that the images were scanned as jpegs rather than tiffs or png files?
Yes, JPEG is a lossy compression format. TIFF, PSD, PNG are lossless compression and are a better choice for using for your purposes. However, do a test and see if the JPEGs might look OK so you don't waste time rescanning the images.
ninose11 wrote:
Will that cause problems in Premiere Pro CC for playback or does the image format not matter?
It should not matter much. The thing to be concerned about is the frame size. Using over 4000 pixels in either dimension is going to severely affect your performance. 3840 x 2160 (2x the HD frame size), I found, works well for most all landscaped oriented images. Try it and see if that works for you.
ninose11 wrote:
If so, would it be wiser to convert all the jpegs to png or tiff files prior to importing into Premiere Pro CC? I understand that they would have to be tiffs or png files to have transparency for compositing purposes. But I only plan to do Ken Burns style moves on the stills, no compositing.
Convert? No, that would not help your images performance or quality. Try a test with a JPEGs and see if they work for you. Otherwise, rescan as TIFF, PSD, or PNG and resize the images to 2x the HD frame size.
Hope this post helps guide your decisions.
Thanks,
Kevin

Adobe Premiere Pro audio distortion

Hi,
I have Adobe Premiere CS2 and some audio distortion problems. I captured a footage from my Sony DV Digital-8 camcorder. It's a standard DV footage with 16-bit PCM audio. When audio is nearly-peaking (not peaking), it gets distorted in Premiere, but doesn't in other applications (VirtualDub, Media Player Classic, Windows Media Player, mplayer). I'm sure this is because an internal conversion (called conforming) from 16-bit PCM to 32-bit floating point PCM. Project Setting of the Audio Track is 48000Hz 32bit floating point - Stereo for a DV project, despites DV standard supports 16 or 12 bit Audio tracks. In user manual they write the following:
"For maximum editing performance and audio quality, Adobe Premiere Pro processes each audio channel, including audio channels in video clips, as 32-bit floating-point data at the project’s sample rate. To do this it must conform certain types of audio to match the 32-bit format and the project sample rate."
Well, if I'm a professional video editor, I can (and have the right to) decide whether which sample rate and bit-depth are the best for me, but they don't let me set audio other than the default, there is no option like bit-depth available not even when creating a NEW project. No problem if Adobe's genius developers thought 32-bit mixing provides much more quality, but if they forget to implement 16-bit to 32-bit internal conversion correctly, please let me decide to use at least a fallback method.
Thanks for your help
stringZ

Just looking at the waveform confirmed my initial reaction: Way, way
oversteered. Everything is clipped and your best approach is to
reshoot. That some players can handle this seriously mistreated audio
may be caused by audio limiters. They should, otherwise you would blow
up your speakers.
Well, you can say that and if this sample was a music maximized with compressors, it would distort too. Sony Digital-8 camcorder has an internal limiter, so only soft-peaking can occur, but no serious distortion. Media Players (eg. mplayer) don't have limiters unless you specify an external limiter filter. I've already told this isn't the clip you want me to re-shoot. This is a sample I created to show you the problem. I sent this to one of my friends who has Ulead MediaStudio Pro 7.0. It doesn't distort there either. Have you tried loading it to an audio editor like Audacity or Adobe Audition? You can see no hard-peaking or distortion if you zoom in the waveform.
Waveform at 00:00:00:21. No distortion, only high levels can be seen on this waveform.
Waveform after 00:00:00:21. Soft peaking in right (bottom) channel.
I'd appreciate if someone took this seriously instead of repeating "reshoot it" and "high levels".

AE CS6's Global Cache and Premiere Pro

Not sure if this is an AE or Premiere question...
Is Premiere Pro CS6 aware of AE's Global Cache? If I have a comp that is cached in AE, and I use Dynamic Link to import that comp into Premiere Pro, does it know that it's already rendered to the cache? Or does Premiere Pro tell AE to re-render it from scratch?

It's not that Premiere Pro knows anything about the cache. Rather, when Premiere Pro asks After Effects to render the frames and send them over Dynamic Link, the headless version of After Effects can retrieve the frames from the cache if they're there. This does, in fact, make Dynamic Link workflows much faster in CS6.
Lutz, what bug are you referring to?
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Rendered .tiff pictures degrade in quality in Premiere Pro

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