Re: Connecting to Dynamic Link server failed

Colin Brougham · ‎Jul 08, 2011

Could be firewall settings: Hang with "Initializing MediaCore" status in startup screen | After Effects, Premiere Pro | CS5, CS5.5

Colin Brougham · ‎Jul 08, 2011

Because I got curious about what the history of this issue or other similar GPU-concerned crashes has been, or at least my experience with it, I went digging through old threads and correspondence. Here's a thread from just over a year ago (what a coinkydink!) where I first encountered the issue, and how I worked around it: Re: Large Images + MPE Hardware = Decreased Performance? That was my first experience with this, and that was in 5.0.1; Steve H confirmed the issue, and the fix was in 5.0.2 (apparently). Then, I started getting the "OpenGL Error Code 7" error and crash; that's me up above in a slightly different form Again, communicated with Steve, but since that was in 5.0.3 and that's the last update that's likely coming for CS5, I suspect this is an issue that will remain in CS5. While I haven't had an "OpenGL Error Code 7" crash in CS5.5, I have come across other crashing scenarios that seem to be GPU-related. Unfortunately, I think this is kind of a moving target; types and amount of media can influence it, and the user's hardware setup and the GPU drivers can be factors as well. Until all the bugs get squashed (fingers crossed), we're left to just figure out workarounds. I'm not sure why lowering the DPI isn't working for you, but you might also try changing the format--perhaps save as a TIF or PSD and see what happens then. While DPI in video doesn't mean anything, I think it is a factor here because it determines the amount of memory that is required to decompress and display an image. If you haven't yet, check out Todd's post, maximum dimensions in Adobe Premiere Pro CS5 and CS5.5 « Premiere Pro work area, to understand a bit more about why image dimensions (and potentially DPI) can be an issue with GPU acceleration. Not sure if that provides any relief...

Colin Brougham · ‎Jul 08, 2011

Only consistency I can see is that it happens with still images and only when manipulating (scaling/positioning, adding an effect etc). Ah, interesting. Now that I think about it, that's what was happening when I was originally encountering the OpenGL crashes. Playback was OK; it wasn't until I moved a photo--or even just selected it--that I experienced the crash. Let me try and remember where I reported/wrote that up... Are there specific photos that cause it? When it was happening to me, a photo at 180DPI (can't recall the dimensions) would cause the crash, but a photo at 240DPI was fine Tweaking the crashy photo "fixed" the problem (with that photo, at least), and it was fine then. Again, I'll see what I can find on that... I've got a "hacked" GTX480, but in my communication with the engineers on this issue, that wasn't the problem; it was the amount of memory on the GPU and how it was being used. Steve Hoeg is one of the guys that deals with this particular facet with Premiere Pro, but Adobe is on break this week; I suspect that if this is floating near the top of the thread stack that he might pop in with some insights next week. BTW, are you using CS5 or CS5.5?

Colin Brougham · ‎Jul 08, 2011

Unfortunately, there is only so much that can be done, as I've come to learn. What you're slamming into is the limitations of the hardware: specifically, the memory on the GPU. That's why this issue only comes to bear when you're in GPU accelerated rendering mode, and not software. I will agree that Premiere Pro should not keel over in these instances, but I don't know if this crash is caused by a fault in PPro or in the Nvidia drivers. To be perfectly honest, 95% of my issues with CS5 and now CS5.5 (which I can crash at will) are due to GPU rendering. You can overwhelm the GPU without knowing that you're doing it, and then PPro goes *poof*. I've asked that the software be a little more realistic about what it can and can't do in this regard, and gear down where necessary. Obviously, this is relatively new technology--GPU-accelerated rendering in PPro, I mean--so the kinks are still being worked out. Are the crashes repeatable? I mean, can you pass the same section in your sequence and have this happen every time, or is it at random points and places in the sequence? If it's at specific points, what is different about those sections? Are there multiple tracks and graphics or effects at those points? The issues I've had with CS5.5 have been with sections that have a few too many layers, typically with large/HD graphics. In my case, I've actually been able to reproduce crashes with synthetics (e.g. black video or color bars) replacing the original clips! That indicates that it's not the media itself, but the compounded effect of the size and number of tracks at a particular section of the sequence.

Colin Brougham · ‎Jul 07, 2011

Yeah, 240DPI is probably the issue; as long as you maintain the pixel dimensions when you drop to 72DPI, you'll get no quality difference in Premiere Pro. DPI is for printing.

Colin Brougham · ‎Jul 07, 2011

What is the DPI of your images? Yes, I know that DPI does not matter as far as video is concerned--only pixel dimensions do--but when it comes to CUDA acceleration, it can make a difference. If they're digital camera photos at something like 180DPI, I've found that decreasing to 72DPI while maintaining the raw pixel dimensions helped.

Colin Brougham · ‎Jul 02, 2011

But there is "desktop". You're on CS5, which you didn't mention. CS5.5 changed the name to "Custom." Same difference. But already my faith in Premiere Pro as being a professional edit system is shaken as there are plenty of presets for 720x480 but none for 720x486. If you are editing for broadcast, going out to digibeta, 720x486 is the standard. Why? No tapeless formats work at 720x480; only tape-based video does, and you need third-party hardware in order to ingest from those. If this is enough to rattle you on Premiere Pro, you're gonna hate it

Colin Brougham · ‎Jul 02, 2011

This is where the Custom editing mode comes into play. Just click the Settings tab in the New Sequence dialog, select "Custom" from the Editing Mode drop down, and set your parameters to suit. For example: Be sure to use the Save Preset button at the bottom after you're done customizing in order to easily create a sequence later using these settings.

Colin Brougham · ‎Jun 30, 2011

Also, I'd love to read more info on how accelerated effects are always 32 bit, even if they aren't marked that way. Check this article: CUDA, Mercury Playback Engine, and Adobe Premiere Pro « Premiere Pro work area From it: CUDA-accelerated processing is always performed in a 32-bpc linear color space Since accelerated effects are processed by CUDA, which always operates in 32-bit color, by default the accelerated effects are also processed in 32-bit color.

Colin Brougham · ‎Jun 30, 2011

By the way: I'm guessing that by the name of your clip in the screenshot you posted (MVI_####) that you're working with footage that was originally shot with a Canon DSLR and then converted to ProRes. As a point of interest, you might like to know that you can work with clips directly from the DSLR in Premiere Pro, with no need to transcode. As a matter of fact, you will probably get BETTER performance by not doing so (in the future), since the DSLR clips are handled by Premiere's native 64-bit importers; converting the clips to ProRes necessitates the use of QuickTime for decoding, which is only 32-bit even on the Mac. Be sure to try this out--I think you'll like it!

Colin Brougham · ‎Jun 30, 2011

But here's the thing: When I create a new sequence the way you suggest, and then check my sequence settings.... It still looks wrong? I see your concern; I'm guessing that you're talking about the Editing Mode appearing as AVCHD? Practically speaking, you can edit any kind of footage that you can import in any kind of sequence in Premiere. The Editing Modes are simply shortcuts to certain sequence parameters, like frame size, frame rate, and field order. So even though there isn't a specific ProRes editing mode, you don't have to worry about it--just plunk your footage into a sequence that matches the footage parameters (which you can see, the New Sequence from Clip operation did) and edit away. If you want, you can go to File > New > Sequence and create your own custom sequence preset. Premiere has a "Custom" editing mode that allows you to completely customize the frame size, frame rate, and other parameters. Simply select a sequence preset as sort of a baseline, and then click on the Settings tab where you can tweak the settings as you like: You can then go to the Tracks tab and specify the number and type of tracks you'd like in your preset, and then click the Save Preset button. Any time you want to use that preset, just create a new sequence and select it, and it will be set up as you indicated. Ultimately, though, you don't need to go to this length; Premiere will work just fine with the footage in the sequence that was automatically set up. Don't be concerned with the yellow line over the footage; you'll still have real-time editing performance. Here's a blog post regarding the colored bars: Red, yellow, and green render bars and what they mean

Colin Brougham · ‎Jun 30, 2011

We edit, and output, all our material in Apple ProRes but how does that work in premiere? ProRes works fine. I use it frequently (typically just the 422 variant), and I'm even on a PC--I'm assuming you're on a Mac. Since it is a QuickTime codec, and one that is not handled natively by Premiere's importers, you'll be working in a 32-bit process, but Premiere will still work just fine with it. No need to re-encode your footage: just import and go. You should be able to encode to ProRes, again assuming that you're on a Mac--there are no ProRes exporters for Windows. (You might want to read this article at ProVideo Coalition by some guy: Native Format Editing in Adobe Premiere Pro) When I import ProRes footage, I can't seem to match the sequence-settings as I would in FCP? That's a piece of cake: just drag one of your clips to the New Item button at the bottom of the Project panel: ...or you can right-click a clip and select "New Sequence from Clip." Whichever you do, Premiere will create a sequence that matches the parameters of your source footage, and drop the clip into it. You can also select multiple clips and do the same, and it will create just a single sequence but put all selected clips into it. Hope that helps, and welcome aboard

Colin Brougham · ‎May 19, 2011

The container is largely irrelevant in the better/worse comparison here. If it records to MOV using H.264, and you can work with those files, you may as well do that. Check, however, that it's not using a different codec or is actually SD instead of HD. Using MediaInfo will give you details of the file.

Colin Brougham · ‎May 19, 2011

It boggles my mind; how do you learn this stuff? I'd tell ya, but then... well... you know... I have no idea what that code meant but I'm just very happy that it worked. Well, it's not really "code" so much as commands. FFmpeg is a program that can do all sorts of video and audio converting, rewrapping, filtering, and other Stupid Video Tricks. The batch file (BAT) is simply a series of commands that tells FFmpeg what to do with a given set of inputs--in this case, it's telling FFmpeg to rewrap the AVI files, without conversion, into MP4 files. Premiere doesn't understand H.264 in an AVI container, but it does understand H.264 in an MP4 container. In plain English, the batch is saying, "Look in this folder for anything with an AVI extension, copy the video and audio streams without converting them, repackage the streams in an MP4 container, and name the files the same as the input files, minus the original AVI extension." Simple when you know what it says I assume that I can use that same .bat file with any video clips I get from this camera in the future? Indeed, you can. It will actually work with however many clips you have in a folder, not just one. In fact, you may want to put FFmpeg in your C:\Windows\System32 folder, and that way you don't have to move the FFmpeg executable around. Any script/batch you use will know that it's in your "path" and can find it without specifying its location absolutely. Anyway, glad it worked. Have fun

Colin Brougham · ‎May 19, 2011

It doesn't really matter if you have QT installed for this file; it's not going to help either way. Premiere Pro does not support H.264 in an AVI container. We can fix this. Download the latest 32-bit static build of FFmpeg from here: Zeranoe FFmpeg - Builds Open the archive; you'll probably need 7-Zip since the archive is a .7z file. Extract the ffmpeg.exe file in the archive (it's in the "bin" folder) to the folder containing your AVIs. Create a text document (Notepad is fine) called "avi2mp4.bat" (no quotes) in the same folder as the AVIs, making sure to change the default TXT extension to BAT. Paste the following into the BAT file: @ECHO OFF for %%a in (*.avi) do ffmpeg -i "%%a" -vcodec copy -acodec copy -f mp4 -y "%%~na".mp4 Once you save the BAT file, double-click it; your AVIs will be rewrapped to MP4s without any conversion. The MP4s will correctly import into Premiere Pro.

Colin Brougham · ‎May 17, 2011

I wouldn't say it's stalled; there's just not that much to do. By the way, I'm about as in the loop as you at this point This will probably not be released as Debugmode Frameserver; this is a completely rewritten plug-in now. DMFS est mort, vive le AFS. AFS works just fine in CS5.5.

Colin Brougham · ‎May 09, 2011

importing all the videos was no problem at all, but when it comes to changing the frame rate, it gets a bit more complicated. It can only process about 80-100 videos at a time (via "file --> interpret footage"), otherwise it crashes. but 14 clicks are better than 1400... Thanks for reporting. I wonder if the crash is a memory issue; it might be a situation where AME is not managing memory properly, and it just keeps trying to load clips into memory to change their interpretation, but isn't letting them go afterward. If you have a way of watching the RAM uitlization, you might be able to confirm this. If it is, it might be worthy of a bug report: Adobe Feature Request/Bug Report Form In any event, glad you're able to make progress!

Colin Brougham · ‎May 09, 2011

Great to hear! Out of curiousity, were you able to process all 1400+ clips in one go, or did you have to do batches? I think we're all anxious to hear, because that would say a lot about the stability of CS5.5 and the robustness it is afforded by being a 64-bit application.

Colin Brougham · ‎May 08, 2011

Steve, The Nvidia 270.61/270.71 drivers have a problem with CS5/CS5.5 right now; a new version is supposed to be released soon. Use the previous WHQL version in the meantime.

Colin Brougham · ‎May 05, 2011

Yeah, I'm interested in that as well. If nothing else, a batch approach would work--100 or so at a time. Looking at the original post again, I'm a little confused: I'm wondering what he's implying by "Premiere Pro not doing .avi?" Is this a Mac? What are the AVIs? Something is fishy...

Colin Brougham · ‎May 05, 2011

There is, perhaps, another solution without going to After Effects, and that is to use the Watch folder. This might be much quicker for large numbers of clips, depending on the work flow. It would, if you didn't need to manipulate the clips before encoding. In this case, the OP wants to slow the clips down, e.g. reinterpret their frame rate. With a Watch Folder, it's FIFO; adding them to the queue at least lets you do a modicum of clip manipulation (via Interpret Footage) before encoding. That's what my second solution entailed

Colin Brougham · ‎May 05, 2011

Aye, there's the rub

Colin Brougham · ‎May 05, 2011

Nice solution... if he has CS5.5. Wouldn't have posted it if he hadn't mentioned that he did.

Colin Brougham · ‎May 05, 2011

I'm away from my editing rig right now so can't double check, but In Premiere Pro CS5.5 try this -- with Pr open, open AME, then select all the sequences at once in Pr and drag to AME. Or, use the AME feature that imports Pr sequences. In the AME import window you maneuver to the Pr projects file and then select the sequences you want to encode. Jerry, What you're suggesting works, but the problem is that there is no way to quickly create 1400 single-clip sequences in Premiere Pro, and you can't send multiple clips sans sequences from Premiere Pro to AME. Fortunately, there are workarounds (see above.)

Colin Brougham · ‎May 05, 2011

Is that really correct? I thought the files encoded from the sequences have the same names as the sequences, not the project from which they came. I'll have to try that as soon as I get a chance. Actually, that used to be the case. Fortunately, CS5.5 saved us Premiere Pro sequences and After Effects comps added to the AME queue will now retain their names, instead of using the project name with a serial number. One of those tiny things that makes a huuuuge difference...

Colin Brougham · ‎May 05, 2011

I don't know an easy or automated way.. <waving hand> Ooh, ooh! I do! Of course, this assumes you have something that you didn't mention, but I'll operate on the assumption that you do: After Effects. Note that I can't fully test this on CS5.5, as I don't have the suite, but it *mostly* works in CS5. From what I know of CS5.5, though, this should work even better in several regards. Ready? Here goes... Assuming you have all of your clips in Premiere, and that you've already interpreted them to the frame rate you want (I'm guessing that's how you changed their speed en masse), select all the clips in the bin and copy them. Launch After Effects, create a new project, and paste all of the clips into AE; all the clips will be added to the project using the interpretation set in Premiere. Technically, you could start at this point by importing all of your footage into AE and doing the interpretation here; options, options. With all the clips selected in AE, drag them to the New Comp button at the bottom of the Project panel; this will open a dialog asking if you want to create a single comp with all clips, or multiple compositions. Pick the Multiple Compositions option, and hit OK. Wait... You'll now have a bunch of comps, each containing one clip, with the proper intepretation and speed change... and they'll also have the name of your source clip. Launch AME. Go to Edit > Preferences > General, and tick the "Specify output file destination:" checkbox. Pick the location where you want all of your encodes to land; the reason you need to do this is that AME lets you change the format and preset for multiple queued items, but stupidly, you can't change the location for more than one item. This step will save you a lot of headache x1400 Go back to AE--and this is one cool new feature--select all your comps and drag-and-drop them into the AME queue. You can now change the format and preset for all of your queued items at once, and you'll see that they're all going to land in the location you chose in the Preferences. One final bit that changed in CS5.5 is that multiple queued PPro sequence or AE comps use that sequence or comp title--NOT the project title--when you add multiple items to the queue. This was an extremely annoying oversight in CS5 (and frankly, would have made your process pretty much a nightmare), that thankfully has been rectified in CS5.5. Now, of course, the moment I typed all that up (which I'll leave so you can see how ridiculously easy the next process is), I figured out a better solution. Drag all your clips in AME. Select all your clips in AME. Right click a clip in the queue or go to File > Intepret Footage. Set the frame rate you want. Hit OK. Set your format, preset, and click the start button. You'll still want to have set the location preference as above in #4. I'll let you decide which is easier

Colin Brougham · ‎May 04, 2011

The forum search works now? Amazing! Don't be silly: Click Me, Seymour

Colin Brougham · ‎May 04, 2011

I've had the Avid codecs installed on two or more Premiere systems for over four years, since Premiere Pro 2.0, and never seen this. I hate to insinuate this, but did you try a search? I found this thread that might have a solution: javascript:;

Colin Brougham · ‎May 04, 2011

Glad you found it useful I'm all about flying, stabby ninja stuff like this Another way to do this without compression (I assume MP4 would attempt compression) would be to change Step 5: Currently step 5 is to choose "save as" and then choose "MOV" or "MP4" (video containers). You can instead choose "Export Audio" and then choose AIFF (or AAC, MP3, or MP2). Guaranteed working in Premiere Pro CS5. Doing the rest of the conversions now! Actually, this is backwards: the reason I suggested MOV (and Toomany countered with MP4) is because the Save As options don't recompress--the Export options do. This mirrors the Save As vs. Export functionality in QuickTime Pro. The Save As option will simply rewrap the existing streams into a new container; Export recompresses the stream (even if you set the settings to be exactly the same) and puts it in a new container. Another option in this would be to use the Save Track > Save Audio Track command; that will extract just the audio to an M4A file, which will indeed import into Premiere Pro as well. Have fun!

Colin Brougham · ‎Apr 27, 2011

You don't have to do anything special. If you use a sequence that contains at least one mono source audio track (that will contain the audio from your footage) and a stereo master track (this is the default), your mono clip will play through both channels of the stereo sequence. This is what it will look like (notice the small speaker icons in the track headers): You can either set up a sequence manually by going to File > New > Sequence and specifying the number and type of tracks you want, or just drag one of your clips to the New Item button at the bottom of the Project Panel (looks like a dog-eared sheet of paper). This will set up a sequence that matches your footage--including audio track types--and create a stereo Master track. When you play the sequence back, you'll notice that both the left and right channels contain the mono audio of your source clip. You can use the Audio Mixer to pan back and forth, if you like, but there is nothing special you need to do to create pseudo-stereo from your mono clip.

Colin Brougham

Colin Brougham

Activity

Re: Connecting to Dynamic Link server failed

Re: OpenGL Error Code 7

Re: OpenGL Error Code 7

Re: OpenGL Error Code 7

Re: OpenGL Error Code 7

Re: OpenGL Error Code 7

Re: No 720x486 presets?

Re: No 720x486 presets?

Re: Premiere Pro CS5.5 stopped recognizing my CUDA...

Re: Apple ProRes workflow in premiere pro?

Re: Apple ProRes workflow in premiere pro?

Re: Apple ProRes workflow in premiere pro?

Re: Can't get PPro to accept video file.

Re: Can't get PPro to accept video file.

Re: Can't get PPro to accept video file.

Re: How to frameserve from Premiere CS5?

Re: Export multiple sequences at once?

Re: Export multiple sequences at once?

Re: OpenGL Error Code 7

Re: Export multiple sequences at once?

Re: Export multiple sequences at once?

Re: Export multiple sequences at once?

Re: Export multiple sequences at once?

Re: Export multiple sequences at once?

Re: Export multiple sequences at once?

Re: Export multiple sequences at once?

Re: Adobe QT32 Server.exe - System Error

Re: Adobe QT32 Server.exe - System Error

Re: Using Mac .caf Files

Re: Making Mono into Stereo