Ok. I'm confused. Premiere help says that M2T files ARE supported for import, but you all say they aren't. Also, when I try to import them (they are actually m2ts, but everything I've read says they are the same), it gives me the error saying it's an unsupported file type or a corrupted file. If this is true and I can't import these files, is there a way for me to record right into or playback and record into Premiere? I could with my old camera, but this one (Sony HDR-SR5) doesn't seem to let me play back when it's connected to the computer. Could I do it through the HDMI out with some kind of adaptor? Any ideas or info would be appreciated.
I have an SR7 and I have found the best workflow is to use Sony Vegas to combine all the AVCHD clips and render out as HDV and use that in PP. Found results were far better than the Elecard converter - which was a bit flaky on my setup
Just seen Jim's reply - AVCHD is not supported in CS3.
The new Main Concept Mpeg Pro HD v3 plugin brings AVCHD support to CS3 but the AVCHD footage is an absolute pig to edit on the timeline. Much easier to go via HDV (as mentioned above)
its very special that know one knows if it will be supported or already
are... esspesially i will strongly suggest that one from adobe can tell us
a yes, no or "it will come very soon" since one have to invest in a not
cheap camera.... please ADOBE... enter the scene now.
Even Sony Vegas -whilst supporting AVCHD - suggests that you render the clips (using a vfw avi HDV preset = BIG files) BEFORE you use them on the timeline. If you dont the native AVCHD scrubs and plays like a bunch of 2 second stills. AVCHD in PP CS3 (with MC plugin) is exactly the same. I came to the conclusion that the AVCHD must be rendered out to HDV and then edited - and that works pretty well. By the way, the plugin will get you over the SD (mpg) incompatibility with the footage from the Sony SR7.
Mark, I agree with you 100%. Why does Adobe not step up to the plate and offer support for this format. Why should we have to spend $400 + to make this happen.
I teach a video production class at a local University and have always used Premiere as the editing software of choice.
It's difficult to continue to endorse this product if they can't offer support for all or most of the popular formats.
This format was developed way before CS3 was released.
> Why does Adobe not step up to the plate and offer support for this format.
I was given footage today shot with this camera, as well about 7 discs from the straight to DVD cameras... The quality is
b very poor.
This is why it is not supported, the quality is terrible. My old Sony Mini DV with a single CCD is better than this. I do not understand why people would want to shoot with a camera that yields disgusting pictures.
I am re shooting the video myself with a proper camera, the HVX 200. Now that is quality.
The footage from SR7/8 is not poor. They are consumer cameras and whilst the bit rate is not the best the AVCDH standard can accomodate, I am more than pleased with the HD footage from what is a £700 UK Pounds tiny consumer camera. Are you viewing it's native m2ts files? and what do you mean by 'poor'? Comparison with a HVX 200 is hardly appropriate!
>I teach a video production class at a local University and have always used Premiere as the editing software of choice.
If you want your students to be truly prepared for working in the outside post-production world, do them a favor and move to FCP. That's where the serious work is being done. Premiere "Pro", while it had great promise, is not keeping up (understatement), and there are few indications this course will change. I'd love to be proven wrong, but the secrecy policies in place at Adobe apparently prevent them from communicating openly about current or future product development. Users are left without a clue. This policy would be tolerable if PPro was holding its own against the competition, but under the circumstances, I think we deserve an explanation of their intent.
I would have changed that sentiment to say that if he wants his students prepared for working in the outside world he should dump the AVCHD cameras and stick with MiniDV. You're not likely to find many pros or production companies using AVCHD. You will still find a great many using DV, which is far easier to work with.
and saves a lot of money since computer requirements are far more affordable. When editing AVCHD get ready to exchange all your computers to the latest quad core technology with double the memory. Seems like a waste of money.
>if he wants his students prepared for working in the outside world he should dump the AVCHD cameras and stick with MiniDV.
Oh, thanks for clearing this up. All this time I thought a quality video education course should concern itself with things like composition, camera angles, lighting, sound, editing technique, story telling skills and so forth.
Seriously, what on earth does the camera have to do with any of that? Shooting VHS would be perfectly adequate at that level.
I'd much rather see a well crafted story shot with a crap camera than garbage shot in 35mm film.
>You will still find a great many using DV, which is far easier to work with.
AVCHD is converted to ProRes in FCP, so ease of editing is not an issue.
> Oh, thanks for clearing this up. All this time I thought a quality video education course should concern itself with things like composition, camera angles, lighting, sound, editing technique, story telling skills and so forth.
What are you doing on these forums??
Good God man, you just complain about everything and your answer to everything is "go buy Final Cut!". How does that help people????? They need to spend thousands of dollars to do that, instead of suggesting something that stupid why not try help with issues concerning ADOBE PREMIERE...
Can you do that? Or will ProRes handle that!??? Cocky *******
>Seriously, what on earth does the camera have to do with any of that?
The same thing your software suggestion has to do with it. It's a way to get things working again. But in my opinion, a better way because DV media will work with any NLE, and is still very relevant in the professional world. AVCHD is not likely to ever be as relevant to pros, so working around it seems not the best solution.
>Good God man, you just complain about everything and your answer to everything is "go buy Final Cut!". How does that help people?????
Well, Sammy, in my own, odd little way, I mistakenly thought that trying to initiate discussion beyond the myvideowontplayinpremierewhatdoido thread was a good idea. Bad me. At some level I must have been under the delusion that a little noise from the gallery might just "inspire" Adobe and improve things for all of us. You may see me as a traitor or specifically a "Cocky *******" (thanks for that), but I'm on your side, too. We all want PPro to be the best it can be.
And to keep this on-topic, if you've done any reading you'll know that AVCHD
a promising compression scheme. Most cameras using it throttle the data rate so low that it doesn't hold up well, but that could change.
>Most cameras using it throttle the data rate so low that it doesn't hold up well, but that could change.
Yes, that is exactly the issue. Not only is it throttled down, but the glass is not as good as a great camera. There is nothing wrong with the compressions scheme per se, just the current implementation.
How does the low bitrate in AVCHD manifest itself guys - is it typically artifacts in fast moving shots? What should I look for or shoot? (just been experimenting with different 'quality' settings on a sony consumer avchd cam - which I assume just changes the bit rate. Tks
In general whenever you use a long GOP compression codec, be it MPEG2 or MPEG4, go for the maximum quality and lowest compression possible. Your recording time will decrease, but you will get the best quality possible and the chances of re shooting are negligent or impossible. So go for the best.
Absolutely Harm - When using the AVCHD I always uses 'best' setting (and 60G gives me 5 hours anyway) No, I was just experimenting ... to try and work out for myself what is gonna get better when higher bit rates (24M) are eventually incorporatd in the AVCHD cams