Trouble with SD footage in HD timeline

I am working with a blend of media and would like to be able to place some SD (4:3) footage into my project with that section pillar-boxed. I have read other posts on the subject and do not want to upconvert the footage to a widescreen look as it contains a lower-third template that would get cut off. I've tried both the "scale to sequence" and "conform to sequence" commands and both had zero effect. What I do get is what appears to be a zoomed image focusing upon the upper left region of my 4:3 image. If I attempt a resize or rescale, all that results is a larger or smaller version of the same thing. How then do I get the full view of a 4:3 image pillar-boxed into a 16:9 project?

You up-rezzed a 720x480 @29.97 frames image to 1280x720 @59.97 frames for use in a 1920x1080 @29.97 frame sequence?
First you'll have to accept the SD will look terrible when viewed along side HD footage.
You could up-rez using Compressor, turn Frame Controls On and change Resize to Best. Stick with a 4:3 image size, for a 1920x1080 sequence, resize to 1440x1080. Keep the frame rate the same as your Sequence settings. Use the same codec as your sequence.

Similar Messages

Trouble with P2 Footage QT Exports

Hi,
My P2 footage looks fine in the timeline but when I export QT's (w/ "current settings" marked) the aspect ratio changes and they look squished. The QT info pane states that the video is in fact 1080, matching the clip info and sequence settings. I don't understand what's happening.
One note: I thought the DP was going to shoot 720, so one thing I'm wondering is if I somehow made a mistake when I brought in the footage, as it was the first time I had logged and transferred P2 footage (I'm used to working with XDCam EX footage where I've never had a problem like this).
Can anyone help me troubleshoot this?
Thank you in advance.
-Cherry

Thank you for the advice but I don't see any settings to change in the QTPlayer 10, and now the same thing has happened to my client who of course also defaults to QTPlayer 10, but thankfully she has QT7 Player as a back-up, which plays the P2 footage Quicktime correct 16x9 aspect ratio.
I've seen several references online to this problem with P2 footage - but no solution other than to use another media player. Apparently the 16x9 embedded flag/value is somehow lost during QT export with P2 footage. When this happens, the file is assumed to be in a 4:3 aspect ratio. I've poured through the settings in FCP and don't see anything that I could change to help this.
Just wondering if anyone knows of a fix - either in QT or in FCP!
Thanks in advance!

Trouble with RED footage

I've been hired to do a re-edit on a short film shot on the RED. I have FCP7. The video which had already been rendered plays fine on the timeline. But I can't get the clips to play on the Viewer. The audio plays, but for the video all I get is a white screen. (see attached screenshot image).
Also, when I try to render footage, I get a message saying, 'Codec not found. You may be using a compression type without the corresponding hardware card.' (see screenshot image). I can play other video just fine. What am I missing? Thanks.

I get this message when I tried to open the movie file:
But yet it plays on the fcp timeline.

Trouble with Offline Footage

Hello, I am trying to get back into video editing and I am running into some frustrating road blocks with Adobe Premiere Pro CS4. I am using a, what I am discovering to be cheap camera, Samsung SMX-F40. Im shooting "TV Fine" resolution, which I believe is 720x480. Through trial and error, I believe I have a correct Sequence Preset when creating my project, because I have successfully edited and uploaded the video to YouTube which was my goal for that project. But it had problems the whole time with video going offline so I had to re-edit a lot. Going back to the final project file only days laters, it is once again unusable because a few clips are offline again. I try re-linking them but files are "Unsupported format or damaged file". These are the same files with same name in same location I used to create the video and it suddenly doesnt like them now.
The files are .mp4, which I read that premeire seems to have issues with. I used Bigasoft Total Video converter to change my .mp4 into .mp4 that I read premier would like better. But I am still having same issues. It just doesnt like either one.
I am a little lost and was wondering if anyone has any advice or solutions that might solve my problem.

I have a similar problem. Except it doesnt effect all of the files all of the time.
Im using CS4 on an HP EliteBook 2540p w/ an Intel i7 2.13ghz and 4 gb ram. Windows 7 32 bit.
I have some file that work just fine. But the main files I need for the video keep saying "offline" And when I try to link them they are "unsupported or dammaged." All the files are 720p .mp4 files from the same camera. And all the files werew transfered at the same time. They are from a Flip if that makes any difference. The weird thing is that sometimes one file will work and other times not.
Any clues? Im going to try the above mentioned "fix" as soon as we get a new IT guy. But not sure when that will be.

Trouble with R3D footage.

Hello, I'm tying to import R3D footage into Premiere CS6 on Mac but keep getting the preview in source monitor error message. I've downloaded the RedPreview for CS6 on Mac but it's a 'bundle' and I've got no idea how to actually apply that to Premiere. Any thoughts? I desperately need to get this footage working in Premiere.

Instructions for installing the RED plug-in for CS6 can be found here:
RED Camera Plug-ins | digital video software - Adobe Labs

Best way to merge 4:3 60i footage with 24p 16:9 on timeline?

I've got footage shot off a Canon XL2 16:9 24pa and footage off a Sony Handycam shot in 4:3 60i. I'd like to get the Sony footage to sit on my timeline but take up the width of the widescreen instead of being a blocky square... Is there anyway to accomplish this?
Thanks,
glenn

Your sort of going about it backwards. Assuming you dont want to finish anamorphic, You should work with a 4:3 timeline and cut your 16:9 footage into that timeline leaving it letterboxed. Then to match the look you should letterbox the 4:3 footage, assuming it was shot to compensate for that cropping. You could always reposition that footage vertically if that helps.

Problems with DSLR Footage in CS 5.5

I am using Premiere CS 5.5. I have no trouble editing AVCHD footage, but a new client is giving me footage shot with various DSLR cameras and this is causing me problems.
First, my specs.
Windows 7
i7-2600 processor
GTX 460 card (1 GB memory, 336 CUDA processors) (Mercury Playback Engine GPU Acceleration is on)
16 GB memory
Separate SATA 7200 RPM hard drives for programs and data files
Now, my symptoms. When I first turn on the computer and open a project, it works fine for a while, though scrubbing on the timeline with any speed causes a bit of choking. After some period of time, trying to play a clip on the timeline will cause Premiere to display a single frozen frame, even though the sound is still playing correctly. It doesn't natter where I move the playback line, I will see this frame frozen on my screen until I turn off the computer. Rebooting the computer and opening the project is not sufficient to un-stick things - it has to be a full shut down.
Defragging the hard drives does not help. And the problem happens even if there are no effects on the clips.
Question: which would be a more likely solution for this problem: upgrading the GTX card or investing in a USB 3.0 Raid 0 drive? Or is there a better solution that I am overlooking?

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
A link with many ideas about computer setup http://forums.adobe.com/thread/436215?tstart=0
Read Harm on drive setup http://forums.adobe.com/thread/662972?tstart=0
Work through all of the steps (ideas) listed at http://ppro.wikia.com/wiki/Troubleshooting
If your problem isn't fixed after you follow all of the steps, report back with ALL OF THE DETAILS asked for in the FINALLY section, the questions at the end of the troubleshooting link

Trouble With Audio Coming Out of Sync

I am having trouble with audio sync
I am using .mov files of myself talking however I also record audio of myself talking as well. The audio files record as mp3 however I convert them to aiff files in order to better synch them in FCP
I have an audio sound as an in point in order to better sync them and the syncing is perfect when i start.
My files are about an hour and a half long and 20 minutes or so the audio starts to come out of sync and my mouth becomes a half second or so behind the audio. I record this audio live so there is no delay between my speaking and my recording voice but the longer the video goes the more out of sync I become.
My syncing method that I use is "Merge Clips" at the in points.
Has anyone else experienced this?

All sorts of things you can do.
Easiest fix is just to run down your timeline and every few minutes snip the audio and move it back into sync.
Now after that;""
Qe have no idea what your process was. We assume you're editing in Final Cut. How did you import your footage? What format is it in the browser?
what are the settings of your timeline? Look at the sequence settings.
You know that you can plug audio from
mic into a Zi8?
You need to get rid of the mixer hum. Likely ac electrical
interference , a ground fault, but who knows.

My troubles with Markers in Premiere

I’m editing a feature documentary in Adobe Premiere CC (latest update) on my MacBook Pro 2014 w/ Mavericks.
I have about 100 hours of source footage that I’m logging using Comment Markers in Premiere.
The problem I’m facing in this workflow is dealing with multichannel audio files. Our sound engineer recorded sound using a Sound Devices 644 6-channel mixer/recorder that saves to 24-bit multichannel .WAV-files. I sometimes have 5 mono tracks with wireless microphones and a boom. I need to sync these audio files to the footage first, before I’m able to properly spot and log what I have. The camera scratch track is insufficient to do this properly, since it sometimes only contains camera-audio, or a mix of different channels, with people being in different locations at the same time. So, I need to be able to mute channels to reveal the content of each audio track separately.
Unfortunately, I’m unable to use Prelude for the logging process, since that program does not give me the option to synchronize my external audio with the footage first, using the embedded timecode in both video and audio files. I also don’t want to transcode, re-wrap or combine audio and video
originals into new (intermediate) files.
So, my conclusion is that I have to use Premiere Pro’s Marker functionality. First, I made sequences for each day we recorded footage. On those sequences, I synced the footage with the corresponding multichannel audio tracks. Then, I decided to make markers in the source clips of either the video (description of what we see, like insert shot, or listening shot, or an event) or the audio (description of what we hear / what people say).
Having worked this way for a couple of weeks, the following bugs / annoyances pop-up:
1 – If I add a comment marker to track 3 (out of 4) of a multichannel audiofile, that comment is also visible in tracks 1, 2 and 4. It doesn’t matter if I unlink the audiotracks first. The comment will stay visible in all tracks. This is not useful, since sometimes, different things are said in different audiotracks of the same file. I suppose this has something to do with the way Premiere handles multichannel audio-files and the fact that they are saved in one file. I guess the workaround has to be the hassle of splitting all audio into separate files, without losing the original timecode, but tt would be much better if Premiere just gave me the option to create separate markers for each individual audio track of a multichannel file.
2 – It’s hard to create overlapping comment markers. Sometimes a part of a clip needs to be logged/commented in two different categories and then it would be nice to have overlapping markers in the same clip. I believe this is possible in Prelude and transports well to Premiere, but Premiere does not really give a good way to do it itself.
3 – When I create a marker (M), I have to alt-click on it in the Source-window to be able to expand the range of that marker. I can then add comment text in either the Markers Panel, or in the pop-up window when I double-click the marker. This works well with shorter clips, but the problem starts with longer clips, like a 30-minute interview. At some point, when I alt-click and then drag the handle to expand the marker, the playhead of the Source timeline jumps back to a position somewhere in the middle of the clip. It does not stay with the marker I just created/expanded. This is a really big annoyance, because then I have to scroll back to that part I was working on. Is there some way or setting to stick to the place in the source clip I’m working on?
4 – Eventually, the Markers in my clip (either in the video or audio clips) show up in the Markers Panel. I now have a scrollable overview that can also be searched. But now the following problem arises: If I search for a specific marker and want to jump to that marker in the content, I click on the marker in the list. It will now nicely go to that place in the Source window of the corresponding audio clip. But how can I reveal exactly that position in the corresponding clip in my sequence? Because only there, it is synced with my video… Of course, I can visually see the markers and the beginning of their text content in my sequence too, but it would be really nice to have a „reveal in sequence” button somewhere. Working with Sequence Markers as an alternative would look problematic to me. I want to be able to pancake sequences and copy clips from a sequence of selects to my main edit, with all comment markers transporting nicely. Furthermore, I like the idea of comment markers being saved in the XMP of the source clip. I have selected this option in the Preferences.
5 – For some strange reason, sometimes comment markers are not saved in the audio file. I have a multichannel .WAV file, which contains 4 mono channels of audio. I added markers to this clip, closed my sequence, opened it again and the markers were still there. But when I saved my project, closed Premiere and re-opened it again, the markers were gone. This happens not with all multichannel .WAV-files, but it happens sometimes and I haven’t discovered the reason yet. On this specific example (T22.wav) I can recreate the error. I checked the file and it’s not read-only or something. So, it just feels like a total random thing and not a very reliable function of Adobe Premiere.
6 – This brings me to other usability issues regarding Markers in Premiere. As I have understood, there is no proper option to globally search for (comment) markers in the entire project. To me, in 2015, this appears very silly and I’m sure Adobe is working on a solution. My workaround now is to export the markers in each clip to a .CSV-file and combine those in Excel. Then, I have a complete overview of all markers in my project. What I feel lacks is that the .CSV-file does not export the Marker color. I use the colors to make visual indicators of categories. For example: a red markers means: important! An orange marker is a question etc. It would be really nice to have an additional column in the CSV indicating just the name of the color. I would be better of course, if Adobe seriously fixes the global search thing.
To conclude, many of the problems I’m facing originate from the fact that I work with double system audio, where the audio is saved in multichannel audio-files, that need to be synced using timecode. Although this is a pretty standard procedure, it feels like Adobe Premiere Pro CC has some issues that I would like to see resolved in future upgrades. I hope my post could benefit to this.
Furthermore, If anyone feels that I’m using completely the wrong workflow and has useful suggestions, I’m all ears! I’m still in the beginning phase of the edit. It took me a while to ingest all files, create the file structure and sequences and properly sync all the audio, but if I’m doing something wrong, I rather hear it now than at the end.
Thanks and my apologies for this exhaustive post.

Meanwhile, I have found a workaround for this problem:
9. – When I have finished adding Comment Markers to a file, I export it's audio to a WAV from Prelude. This WAV-file will also contain the newly created markers. Then I send the WAV to my co-editor and he places the WAV under the original audio in his timeline. Now the extra .WAV-file will function as a 'guide track' which shows the markers. The audio channel can be muted.
It would make much more sense if Premiere always checks if a .XMP on the disk has been updated or added, when it is mounting the media upon opening the project file. Or even better: Premiere should update the Markers in the timeline in realtime, when the .XMP has changed.
Having said this, we found the following behavior of Premiere, when media and .XMP's on the disk are replaced:
– Sony F5 / Sony PMW-100 / Canon XF200 .MXF + .XMP, only .XMP with new metadata is replaced on co-editor disk: Comment markers are MIXED with markers that were already present in the clip. Some markers get lost, because of conflicting timecodes?
– Canon C300 .MXF + .XMP, only .XMP with new metadata is replaced on co-editor disk; Comment markers DO NOT show up in timeline. Re-import and re-placement of file in timeline is necessary (including syncing with external audio)
– .MOV Quicktime container (entire .MOV has to be replaced on co-editor disk, since metadata is saved in Quicktime container): Comment markers are MIXED with markers that were already present in the clip. Some markers get lost, because of conflicting timecodes?
– .WAV-files: Comment markers properly update on timeline.
I'm curious to see if the upcoming 2015 update contains improved functionality and bugfixes regarding .XMP metadata (e.g. Comment Markers) and sharing media. I'm especially curious about the new Adobe Anywhere functionality for small teams.

Working with 48fps footage in Premiere CC

Hi there,
I am currently working on a 24fps project with R3D footage in Premiere.
Some of the footage for a new sequence I am working on was shot at 48fps (and will need to be exported to 24fps while retaining 48fps' slow motion effect) and I am unsure how to go about this.
Can Premiere play back in the program monitor at 48fps? Can it interpret/render 48fps footage to export to 24fps while retaining the original attributes of the 48fps footage? Or would I need to use additional software to accomplish this?
Ideally I would like to be able to edit/playback the footage at the correct frame rate within Premiere as I need to synchronise it with music to see which segments of the clips I have will work best.
Any advice is greatly appreciated.
Thanks!

If I'm understanding you right. Your R3D footage is a baseline of 24fps (or 23.976fps) but was overcranked on the camera to 48fps, meaning it should playback half the speed of realtime. I don't know much about camera settings but normally the camera processes this internally and then spits it out at 24fps but was actually overcranked for slow-motion. Arri Alexa does this internally. I have worked on R3D slow-mo before and I know it processes it internally also.
Unless the red camera has a setting to turn that off I do not know. The important part is; is the footage at 24fps or 48fps BASELINE and how much excess fps was set to overcrank in the camera settings? (i.e was it set to 'squeeze' 48fps into 24fps)? Normally premiere pro cc is good at reading the footage's baseline fps value in the browser.
But to interpret footage inside of premiere pro cc, its easy - all you do is bring in your footage into the browser, then right click on it, go to modify then interpret footage; in the menu at the top, change the fps value interpretation from 48fps to 24fps (or whatever baseline you want) and then click ok. Drop the clip onto a timeline matching the rest of your baseline fps and it should be slow-mo. You should see the value of the clip's timecode length increase double in the browser metadata.
Hope that helps, let me know how it goes. Be useful if you can take screen grabs of the metadata so we can see what your looking at.
Regards

Quality Issues with Video Footage

Hello all
I'm not sure if this is the correct forum to post this question
I'm having trouble with the quality of my footage on export to DVD and I'm wondering if this is due to my settings in FCP or my workflow.
The problem is that I am getting gradient separations in my footage. It looks like the Posterize effect in Adobe Photoshop.
I have 2 samples here....
http://www.arohajourney.com.au/Sample/sample%201.jpg
http://www.arohajourney.com.au/Sample/sample%202.jpg
When I start editing the problem in minimal when viewing in my output monitor but by the time I get my project to my DVD player it is very noticeable. Especially in disolves to black.
*This is my workflow*
Shoot on Sony Z1 in HDV format
Capture to FCP 5.1.4 using Decklink HD Extreme.
Connections are via the camera's component connections directly to the Decklink card via BNC
Codecs are Blackmagic DVCPRO HD 1080i50 or AIC
Edit
Render
Export via Quicktime Conversion > 10 Bit Uncompressed resized to 720 x 576 Pal 16:9
Compress for DVD via Compressor 2.3
Settings: MPEG 2 - CBR 6.2 Motion Est=Better
Import to DVD Studio Pro 4.1.2 to create DVD elements
Burn
Then I cry
Effects used in the samples are Mis Fire Vignette
*My Mac*
PowerPC G5 Dual Core 2.0
2.5 Memory
GeForce 6600LE 128mb
2 X 500Gb sata drives
Sonnets Fusion 500p external enclosure with 4 x 500gb SATAII Drives
OSX 10.4.10
I can't seem to figure this out so if anyone knows this problem or can point me in the right direction I will be very greatfull
Cheers

Hi Javabob
I've tried that, the gradient issue is still there and i get the added joy of watching pixelated titles.
I thought that maybe losing that step using the original footage to compress for DVD may work but it didn't...
thanks for your response though

I have imported some studio footage to my timeline and when i play it back the playback screen is green, even the footage in the timeline is green. anybody have a solution? thanks!

I have imported some studio footage to my timeline and when i play it back the playback screen is green, even the footage in the timeline is green. anybody have a solution? thanks!

Exactly WHAT did you import?
Exactly what is INSIDE the video you are editing?
Codec & Format information, with 2 links inside for you to read http://forums.adobe.com/thread/1270588
Report back with the codec details of your file, use the programs below... A screen shot works well to SHOW people what you are doing
https://forums.adobe.com/thread/1070933 for screen shot instructions
Free programs to get file information for PC/Mac http://mediaarea.net/en/MediaInfo/Download
More information needed for someone to help... please click below and provide the requested information
-Premiere Pro Video Editing Information FAQ http://forums.adobe.com/message/4200840
•What is your exact brand/model graphics adapter (ATI or nVidia or ???)
•What is your exact graphics adapter driver version?
•Have you gone to the vendor web site to check for a newer driver?
•For Windows, do NOT rely on Windows Update to have current driver information
•-you need to go direct to the vendor web site and check updates for yourself
•ATI Driver Autodetect http://support.amd.com/en-us/download/auto-detect-tool
•nVidia Driver Downloads http://www.nvidia.com/Download/index.aspx?lang=en-us

Why can't i drag footage onto the timeline?

Why can't i drag footage onto the timeline? the timeline does not appear active....
Plz help

Getting Started with Adobe Premiere Pro
A series of tutorials that will introduce you to Premiere Pro CC and take you through quick, entry-level projects.

Capturing Troubles with Premiere Pro CS5.5

Hello!
I am fairly new to Premiere and I'm having a little trouble with the capturing option.
I have Premiere Pro CS5.5, a MacBook Pro (13 inch), a Sony HDR-CX 110 camera connected to the MacBook with an HDMI cable and a HDMI displayport adapter.
I think I have everything I need to get it connected but it seems that whenever I select capture the window that pops up tells me that my device is offline.
I have a 13 inch MacBook Pro. I bought it in August of 2010. I have a Sony HDR-CX 110 camera. I have it hooked up to a HDMI Displayport adapter via a HDMI cable and the camera is plugged into the wall and turned on playback mode. I know the displayport works because I have a dual monitor set up and the adapter works because I have connected my TV to my Mac so there should be nothing wrong with the adapters and ports. But for some reason the camera doesn't appear to show up whenever I try to do this capturing option.
The camera's box does say "compatible with iMovie" and I have been able to import footage I collected without the camera plugged in to the computer, such as a guitar performance and an interview. That process was pretty simple and was connected to my computer via a USB.
Now, I think that maybe I'm just trying to do something more advanced with the camera and the camera can't do it. But if I am wrong (and I hope I am) I don't where to go from here? Any help would be so greatly appreciated!
Thank you =)

That will only work if your camera HAS a firewire connection... I think for Mac it is call iLink, but since I'm Win I'm not sure about that
Just do what was said and copy the folder to your hard drive and import from there

I am having trouble with iPhoto-it won't launch.

am having trouble with iPhoto-it won't launch and leaves a blank white screen box and spinning wheel of death-if I re-install software-will I lose all photos and faces settings? Any ideas-this is a Mac Pro and Xserve school system.
It seemed to stem from when I was transferring some movie footage from an HD camcorder to iMovie.
This is a school system and I'm worried I may lose many photos and face recognition data.
Phil

1. The library is separate from the application, so re-installing shouldn't cause an issue with the actual photos. But it would be foolhardy in the extreme to do anything without first backing up.
2. Often these issues are caused by a damaged Library, so reinstalling doesn't change much.
FWIW
To re-install iPhoto
1. Put the iPhoto.app in the trash (Drag it from your Applications Folder to the trash)
2a: On 10.5: Go to HD/Library/Receipts and remove any pkg file there with iPhoto in the name.
2b: On 10.6: Those receipts may be found as follows: In the Finder use the Go menu and select Go To Folder. In the resulting window type
/var/db/receipts/
A Finder Window will open at that location and you can remove the iPhoto pkg files.
3. Re-install.
If you purchased an iLife Disk, then iPhoto is on it.
If iPhoto was installed on your Mac when you go it then it’s on the System Restore disks that came with your Mac. Insert the first one and opt to ‘Install Bundled Applications Only.
If you purchased it on the App Store you can find it in your Purchases List.
Alternative approach:
Option 1
Back Up and try rebuild the library: hold down the command and option (or alt) keys while launching iPhoto. Use the resulting dialogue to rebuild. Choose to Rebuild iPhoto Library Database from automatic backup.
If that fails:
Option 2
Download iPhoto Library Manager and use its rebuild function. This will create a new library based on data in the albumdata.xml file. Not everything will be brought over - no slideshows, books or calendars, for instance - but it should get all your albums and keywords back.
Because this process creates an entirely new library and leaves your old one untouched, it is non-destructive, and if you're not happy with the results you can simply return to your old one. .
Regards
TD

Trouble with SD footage in HD timeline

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