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neil wilkes
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neil wilkes
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‎May 09, 2023
06:32 AM
Assuming of course that the original files were not resized.
As long as the imports are still 4k, then what Richard says above is spot-on correct.
You should also be able to go to the menu list at the top bar, select 'Sequence>Settings' and reset your sequence to a 4k setting before applying Richard's solution - and the act of editing the sequence settings might even trigger the frame resizing anyway (I don't know as I have never tried it this way around)
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‎May 09, 2023
06:18 AM
What is the make & model of your audio device or chip?
Are you sure it is supposed to use MME - can you try seeing what other options you have by clicking on the little down arrow to the right of 'Device Class' where it currently says MME - there will be better options in there. If you can take another screenshot & give the info above I will look into the right setup for you.
But I will wager the Device Class setting is wrong.
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‎Apr 25, 2023
06:55 AM
I'd like to confirm Kevin's observation above when he states that it is almost certainly a variable frame rate, and even if this only varies marginally it can cause problems.
One possible solution might be to also take a look at re-interpreting the footage at the correct frame rate after it has been imported. That should stabilize the frame rate.
Another option might be to try & lock your phone down to a fixed frame rate, and not allow it to shoot in VFR. I would usually recommend 24 or 48fps as these are closest to a global standard
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‎Dec 28, 2022
09:07 AM
Hi,
Yes I created a new sequence by clicking "new item, new sequence,". Then I drag the video to the sequence to get the error message. The only difference I see is that the audio coming from my clips reads "48,000 Hz - Compressed - Stereo" and when I create my sequence I keep the default to 48,000 Hz. Theres no option to select Compressed in the sequence window
By @Nelson_A_
The best way to create the sequence is to right-click the clip & select 'Create New Sequence From Clip' choice.
Why you are getting a mismatch I cannot tell from the screen grabs provided (they are showing the wrong information) but it could easily be audio related as that too will trigger the 'mismatch' warning, along with other things.
Can you please try this:
1 - Open your Sequence Settings (the one you created manually) - it should be the first item in the drop-down menu in the 'Sequence' tab. Take a screen grab please.
2 - Right-click one of your clips in your Project Browser as described above and let Premiere create the sequence, then again go to 'Sequence>Sequence Settings', screen grab that & post the 2 for us, please?
As R Neil Haugen wrote above, the right-click & 'Create Sequence From Clip' is the best way to proceed. You should then be able to drop the other clips into this sequence with no difficulty either
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‎Dec 28, 2022
08:54 AM
What factual errors?
Not in my post - PPro CC2018 reads MKV with no trouble. That is what I want, and I do not care about export to MKV.
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‎Dec 28, 2022
08:35 AM
MKV is just a container, ie sort of wrap-up around encoded video. Codec is what defines output video quality, not container. Thus you already can get better quality just by tuning your encoder settings. No need to wait for .mkv support for that..
By @basil1891
This is pure sophistry. Sorry, but it is.
We are not asking for anything new here, simply the re-inclusion of a file type that PPro CC2018 on Windows 7 has no difficulty reading the video portion of, although it does refuse to read the AC3 audio (despite the fact I have the SurCode Premiere plugin package, but why make things user friendly, hey?) so it's absolutely not a case of work needing to be done.
I also do not care that I can 'get better quality by tuining my encoder settings' either. That is utterly irrelevant and a classic 'Straw Man' response. All I want to do is have the ability to read files that I have archived, from when PPro still read this file type before someone at Adobe Towers decided to remove it. This reminds me of the same decisions taken when (again, at Adobe Towers) some Mook in an office decided that 'nobody makes DVD any more' and removed all that too.
Why is it in any way difficult or controversial to ask for something that should never have been removed in the first place to be put back again?
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‎Dec 28, 2022
05:09 AM
1 Upvote
Was worth a try!
By @Ann Bens
Always worth the attempt, absolutely yes.
Back to PPro 2018 on Windows 7 with me it is, then.
This works - except for the audio, which is a mystery as I have the SurCode tool installed which is presumably an encoder only without any decode abilities. But I can get around that issue much easier
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‎Dec 23, 2022
06:11 AM
I cannot help out with your Motion Menu problem simply because we don't use Encore to create Blu-ray, and have no idea how to do what you need - we use BD-J under Scenarist BD. I will take a look & see if I can see anything untoward though.
What I can probably help with is the whole data disc issue if that needs sorting out still?
Getting back to your menu issues though, give the following a try:
1. Create your full-length video background in Premiere, and render this to an H.264/Blu-ray file.
2. Render your audio at the same time.
3. Bring these assets into Encore, which always works best when fed with spec-compliant assets.
4. Forget all about importing a PSD file.
Linking it all up:
Make sure you exported a set of markers out of the Premiere sequence. NAME THEM (or you will get lost)
Where your button points to a different section in the background video, simply aim it at that chapter point.
This ought to work - the biggest problem will be setting menu button subpicture highlights, and this I cannot help with as stated earlier.
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‎Dec 23, 2022
05:47 AM
Have you tried changing the mkv extension to avi?
By @Ann Bens
No - I did not think of this idea.
Will check right away & post back
EDIT:
Nope. 'Unsupported format or damaged file'
Works flawlessly in PPro on my W7 setup as MKV though, so the file is not damaged.
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‎Dec 23, 2022
05:39 AM
1 Upvote
Ah, the dreaded MainConcept issue bites again!
I'll make a note of this issue - the Adobe Media Encoder is built using MainConcept encoders, so this makes perfect sense to me. Information is much appreciated
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‎Dec 23, 2022
04:54 AM
Several "codecs" are more properly referred to as containers. Which I've tended to do, but also ... been chastised for because "it confuses people".
MOV is also ... a container, as are many others ...
But whatever ... for that container ... they would have to write the code to recognize the container and properly parse the contents of same. Exactly the essential contents of the many posts about this over the last couple years.
And they've said clearly they have no plans to do so. Ergo, upvoting this either in UserVoice or the new Ideas section here are our only choices to attempt to get the decision changed.
Neil
By @R Neil Haugen
But this is obviously not correct (Adobe's version, not yours!) because my old version does read MKV files - so Adobe do not need to write any code at all - they just need to put back a feature they removed for no good reason.
@smrpix.
I do not much care if ProRes is more efficient than UT - this is not what my problem is. My problem is being unable to import archival material I can import on Windows 7 but not on W10 because the feature has been removed by Adobe!
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‎Dec 22, 2022
07:08 AM
I'm totally with Ann on this one - she is absolutely correct.
The file size estimate you see is what the encoder expects it would be if the targetted bitrate was used throughout. I suspect that if you tried a CBR encoding you would get the file size guessed at - sorry, estimated at.
Can I ask what the purpose of a single pass VBR is though, please? It makes no sense to me so I may be missing something here and am thus curious to know what....
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‎Dec 22, 2022
07:04 AM
Yes, thisn I know only too well. I have been using the local Network, and basically sending MKV across to the W7 DAW/NLE, turning it into a UT AVI (no ProRes option) and passing this back over the network again, and I just snapped earlier today with a 320Gb transfer there & back, just because I cannot read a file type that was previously not an issue. It;s simply frustrating - between the W10 & the W7 versions I can get most things done, but it should not be such an absolute faff.
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‎Dec 22, 2022
06:52 AM
What options are you selecting, in the AAF Export dialog
By @Bruce Bullis
Just what I was about to ask.
@ EditRush - If you could post screenshots too, please?
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‎Dec 22, 2022
06:51 AM
This is a tad on the irritating side, as it still works over on my Windows 7 installation, along with my very expensive SurCode Dolby Digital Plus encoder - both are missing in the Windows 10 system.
How can I access all my stored MKV files, please?
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‎Dec 21, 2022
04:39 AM
Sorry I am so late to the party on this one - been away on other stuff and only noticed this thanks to a message from Stan (thanks, chap).
For the OP - how exactly - step by step, if it do ya - did you burn the disc that turned out to be a data disc?
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‎Dec 09, 2022
03:04 AM
2 Upvotes
You can definitely install UT on a mac. A good friend has already done this, and getting results too.
Not 100% certain about Lagarith as it is no longer developed, so may not install to newer Macs.
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‎Dec 08, 2022
05:31 AM
1 Upvote
Well, yes & no, not really.
An AVI extension is the same basic idea as a MOV, or an MP4 - they are container types, and the ability to vreate/generate & read them will depend on having the right codec installed.
For Adobe on Mac, try Lagarith or even better the UT Video codec suite - colour spaces for all needs, and all for free too. Just select 'AVI' in the drop-down, and select the required UT codec from the list. UT probably better as still being developed, so presumably getting more efficient with it.
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‎Dec 08, 2022
05:21 AM
Hi Michael.
A couple of ideas that it may be worth trying to fix the existing project:
1. Purge your cache files completely. All of them. Save the project, close the project. Go into edit settings now & delete all surplus cache files, and make sure that the setting here is to put cache files next to the actual files for preference as this means when the project is done and you are backing up the files you'll be able to delete all the cache files and not miss any, as all will be in the project folder.
Close Premiere now, and open the location of your old Adobe Media Cache location.
Delete everything you find in here - most will be useless and any that Adobe tools require will be regenerated the next time the project is launched.
Now relaunch Premiere & then your project that had been causing trouble.
Can you export now?
If not, are all your audio files at the same sample rate? You probably do not want to be mixing sample rates, and this may well be where things are sticking with a linked video/audio combo at a different sample rate to the main sequence.....worth a look, anyway?
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‎Oct 27, 2022
03:19 AM
Personally, I wouldn't.
I think what you are looking for is a way to make a collection of tracks all sound as if tjhey are part of the same record or production, yes? If I am correct then you are looking for mastering here, not mass normalization. Honestly, please - for the sake of your music if nothing else - forget you ever heard of 'normalization' as it's a really bad solution.
If you would let me have a little more detail, I will be happy to point you in the right direction to teach yourself how to do this.
In the meantime, a couple more things you can do for your podcast voice recordings too:
1 - put each separate voice on it's own audio track.
2 - Use a High Pass Filter on each track to reduce unwanted rumble & subsonics.
You'll find this in the EQ (if we are in Premiere Pro, and using the stock plugins you will find what you need on the screenshot below as a starting point - begin at 120Hz, possibly 160Hz, with a slope of 36dB/Octave and see how it sounds. Adjust until it no longer seems to be doing anything - that is your point.
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‎Oct 27, 2022
03:05 AM
Hey Hayley.
Can you please be a little more specific about a few things, so we can try to diagnose the issue?
What OS are we talking about - Mac or PC? Which version of the OS? What are your system specs? What are the project details - source footage, frame rate etc.
Please can you be as detailed as possible too - this is sounding very alarming to me because we use transcribe all the time these days (it is never correct but it gives placement for editing) and when you say it is not possible to edit text unless you 'select a blank area of the timeline' - eek. A series of screenshots, a film clip - anything at alkl to try & nail this one down.
Until then, I am not updating at all & appreciate the warning too
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‎Oct 21, 2022
05:18 AM
1 Upvote
I'm not at all sure such a display is possible, as it would require the stereo to be summed to mono in order to obtain it.
You could always try splitting the original stereo interleaved file into Dual Mono files - but this would then take up 2 audio channels in your mixer. This may even be beneficial.....depends on what you are editing here.
If the sequence is already created you'll need to either export the audio, making sure to do this as 2 separate files and then re-import these back into the project or else take a side-trip through Audition & do the edit there.
The besy way to do this would be to split the audio on import into Premiere though. Personally, I prefer the interleaved form because it guarantees to me that there will be no phase discrepancies introduced through accident and prevents any chance of sync loss too.
Can I please ask why you'd like the alternative display option?
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‎Oct 21, 2022
05:10 AM
That's interesting to know, Ann. Is this a general thing to be aware of, or something that will only bite under specific circumstances please? I ask because we have now had to start doing subtitling, even for concert films (iTunes are now insisting, it seems) and this is something that has not yet bitten me but if it does then at least I have an option to look at.
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‎Oct 21, 2022
04:24 AM
1 Upvote
Audio is sadly all too often treated as an afterthought these days, so it is really good to see someone who wants things to be better - so here we go with some options for you..
I'd begin by forgetting that such an abomination as 'Normalize' is even an option, as it is unlikely to do what you think it does whilst at the same time being very likely to seriously screw up your audio. This is because it usually works to peak levels, and because this takes account of transients (these are momentary peaks, often caused by something percussive in music or a sudden sharp sound in a film/TV episode) as the reference point the most common result is a feeling along the lines of 'Did that actually do anything?' - what it did was looked at the highest peak level, and raised everything from that point (including the noise floor) and creating a layer of DSP with all the usual quantization distortion and all for not very much audible level increase. Conversely, if you use RMS Normalization then the noise floor is also raised as the process is applied across the entire audio file's frequency response with little to no user control over what is happening.
No - please, I urge you, forget normalization. What you need to learn to love are compressors!
We will start with a youtube clip mainly because the OP is using Audition for the job
Dialogue Compression Tutorial
You'll notice that I am assuming it is smoothing out dialogue that you need to do - but if we are actually talking about music soundtracks then you'll need a different approach, as what works well on dialogue is probably not going to be optimal for musical content, so I am going to stop right here for the moment, and wait for your response before getting down to the meat of the subject as I don't want to give you a whole bunch of information on dialogue optimization only to find out it's something entirely different in your clips.
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‎Oct 11, 2022
02:40 AM
sorry if you already understand this, but it's not clear from your post... Changing the speed of a clip without changing the duration requires you use one of the 3 frame interpolation options... The first 2 will NOT create new frames and definitely will be visible. Optical Flow can produce great results but it's very dependent on the amount of motion between frames as it's trying to create new frames... Sometimes the amount of movement is too extreme for this process to work. If you have an example of this working previously with a shot that will no longer work, post it here. If you're using different shots, you may just be facing the limitations of the technology.
You might try After Effects which may do a better job. I think AE calls optical flow, pixel motion... I've sometimes used it when I have to apply both a speed adjustment and image stabilization... Not sure it was any better than Premiere but it does give you more control over image stabilization.
By @Michael Grenadier
Sadly I do understand this.
What I do't get is why the artifacts are suddenly much more visible than previously. Optical Flow looks horrendous - it simply cannot do the job at all, and neither FS or FB are in any way acceptable as they sit so the way I see it I have 2 choices, neither of which are great.
1. Import the source, Interpret as 24fps and render. This increases the run time by 4% but I now have the right frame rate & the conversion is clean. It's a concert film though, so cannot leave it like this (or futz with the sound) so I now need to slomo this back down to the right speed, and have either Twixtor or else Topaz Video Enhance AI's CRONOS mode.
2. Take the stuttery hit in Frame Sampling conversion & repair that with Topaz Video Enhance AI.
Testing both options to see what looks the best
Secondly - where do I find those settings in AE, please? I am literally clueless with that tool
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‎Oct 11, 2022
01:40 AM
(POSTED IN ERROR - PLEASE DELETE)
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‎Oct 10, 2022
03:29 AM
Hi Andrew.
2 things I would very much like to run past you, if you don't mind?
Firstly, would this maybe account for a new 'flickering' almost as if a frame is getting dropped at regular intervals - when I run a frame rate conversion process from 25fps to 24fps (it also triggers if I sue 23.976fps) that in the past always used to give me flicker free output?
Secondly - using ProRes may not work on PC, as ProRes on PC seems to get wrapped as MXF. Maybe I should try a MOV wrapper?
Any thoughts would be wonderful.
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‎Oct 10, 2022
01:56 AM
Until very recently, changing the frame rate from 25 to 24 was an easy thing.
I simply selected DnxHD and went for it. Since things have changed with DnxHD and ProRes in Premiere, the conversion process seems to have become all but impossible as I get a really irritating little stutter - almost as if a frame has been dropped somewhere, and it is making the process next to impossible.
There are 3 modes: Frame Sampling, Frame Blending & Optical Flow and each has their problems on this particular footage. FB causes some of the people to appear as if they have 4 legs each. The ghosting is all over the place & unacceptable. Optical Flow is exactly the opposite of what it claims - it looks terrible, and Frame Sampling is causing not only the stuttering effect vbut has an almost complete image break-up on one particular scene.
So the BIG question is - how can I get this frame rate conversion done without changing the run time duration? Yes, I can interpret the footage as 24 instead of 25, and create a new sequence & yes I understand this is how it is normally done - but that adds 4% to the run time and alters the audio speed & pitch, which is unacceptable.
I have also tried Topaz Labs Video tool, using the Cronos AI which is designed for the job and it looks fantastic - but the result plays out either 18 seconds too quickly (converting to 24 fps) or 8 seconds too quickly (converting to 23.976 fps) so that's no use either.
I feel a lot like Edison when he was trying to make an incandescant light bulb and famously said he had found 'thousands of ways not to make one' (or something along those lines, anyway) and have put so far last week 100 hours & $800 cash and still all I have done is found ways not to do this.
What irks me more than almost anything though is that this process used to work right up until very recently, so what has changed to cause this to start happening, please?
Finally - does anyone have any suggestions? FS looks the best apart from this seemingly 'dropped' frame every so often and at least it maintains the correct run time. I wonder if running a Topaz Repair, or a slo-mo would fix the issue?
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‎Sep 20, 2022
04:15 AM
1 Upvote
It's hard to advise without hearing the problem in the first place.
If it is that far out of whack, I would advise getting them to fully re-record the whole piece, and to include some room tone as well - just in case.
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‎Sep 13, 2022
04:26 AM
It sounds to me like you may be much better off using a compressor here as opposed to increasing/decreasing peak gain.
I would absolutely have compressors on each voice channel/track as a matter of basics, and probably on the music track (depending on the source material of course as much modern 'music' has the dynamic range equivalent of a lightbulb these days).
Simply increasing clip gain by 1dB will make very little real difference and will cause more issues down the line.
Compression is cool - learn to love it!!
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