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cc2014 not using all CPU cores or GPU

forums_noreply@adobe.com — Wed, 05 Nov 2014 23:50:31 GMT

I'm using the new CC2014, and I exported a project straight out of Premiere and it utilized all 8 of my CPU and my GPU. When I export using Adobe Media Encoder, it only uses one core and doesn't seem to use the GPU at all. I tried changing the setting to from GPU to software only, and it didn't seem to make a difference.

cc2014 mask bug

forums_noreply@adobe.com — Thu, 03 Jul 2014 04:38:57 GMT

check this out:

This is what happens when I try to use the new mask feature in Adobe Premiere CC2014: it's off set halfway across the screen. I did a very dramatic curves adjustment just to illustrate the problem better. I tried both the circle and the square mask, different effects, and even closing down and reopening Premiere. No luck, same result every time. I even tried just moving the mask far to the left to compensate, and when it hits the corner of the screen it starts to cut off the mask. Ok, I'm now officially waiting for the CC2014 update to start using it again. Much to buggy.

how do I fill both channels of a stereo track into a mono track?

forums_noreply@adobe.com — Thu, 12 Jun 2014 18:38:52 GMT

I have a stereo recording with the interviewer recorded on the L channel and the interviewee recorded on the R channel. I've applied both "fill right" and "fill left" to the track and then cut and toggle between the two when appropriate. However, when they are both talking, I would like both channels to be active, but not as a stereo track (since otherwise the audio is effectively mono), and turning on both "fill right" and "fill left" at the same times seems to feed on each channel at 50% instead of 100%, at least that's what I'm assuming since there is a noticeable level drop.

Any suggestions? I'm on CS6.

How ripple edit an edit point incrementally, frame by frame in CC?

forums_noreply@adobe.com — Thu, 22 May 2014 07:09:53 GMT

I know I can do this in CS6, since I do it daily at my job, but on my home computer running CC, I can't seem to figure out how to trim or ripple edit in one frame increments? I remap a lot of my keys, so I don't remember what they are originally, and I can't seem to figure out the name of this command.

clipped frequency, but not clipped waveform?

forums_noreply@adobe.com — Wed, 16 Oct 2013 15:13:48 GMT

Not sure what this means or how it happened, but as you can see in the image below, the waveform volume does not appear to be clipping, rather is is the frequency that appears to be hard clipping. Who cares, sure, but the audio definatly has that characteristic "clipped" sound, so this is a problem. Incidently, when I perform a Amplitude Statistics scan, is reports only 2 "Possibly Clipped Samples." Running the DeClipper effect under Diagnostics, doesn't detect any clipped audio and thus doesn't repair it either. Any suggestions would be great.

Can I blur part of an image in SG?

forums_noreply@adobe.com — Sat, 14 Sep 2013 15:39:21 GMT

One common technique that I use for getting the right "look," is to blur out part of an image, usually the background to give it a bit shallower depth of field in post. Now I know I could do this in AE, but this seems like such a simple task, and so directly related to the "look" of the image, that I should be able to do it right in SG using all their lyers and masks.

Is this possible or should I head over to feature request?

GPU timeline render question - yellow bar

forums_noreply@adobe.com — Wed, 16 Oct 2013 15:33:00 GMT

I have a GeForce GTX 650 Ti, which I know is not an officially supported card so perhaps this is related to the issue, but it should be sufficiently beefy enough to handle the load. Anyway, I've got Premiere to accept the card and have GPU acceleration enabled. I was recently doing a somewhat simple effect of speeding up a clip by a lot for a time-laps effect. With GPU acceleration turned on, the render bar is yellow, indicating that the effect may need to render for real-time playback. With GPU acceleration turned off (CPU acceleration on), the render bar is red - deffinatly needs a render. This issue is that with GPU acceleration on, the yellow bar won't render. Hitting Enter or Return just move the playhead to the begining and starts playback. Same for Sequence> Render Effects in Work Area. The clip is not playing back smoothly with GPU yellow bar. Shutting off GPU acceleration, just so I can get a red bar and render seems stupid and not the correct solution.

Is my footage interlaced and what do I do about it?

forums_noreply@adobe.com — Sun, 22 Sep 2013 20:50:31 GMT

Sorry for the kinda newbie question, but I don't deal with interlaced footage too much these days.

So I've been editing footage from various sources that come in all sorts of formates. I have no way of contacting the people that shot it, not an option. I'll use my current project as an example.

In this case, the footage is comming from a playable DVD, so perhaps the first question is - does this make it interlaced? From what I've read online, people seem to say that programs like MediaInfo and GSpot will not tell me if the footage is interlaced or not. I don't see why not, but I also don't see a section in these programs that say interlaced or progressive (GSpot does have a blank "Fields/s" but in this case it is blank).

When I drop my footage into Premiere, it auto formates the timeline as progressive. Is this correct? I don't know, but I can tell you the footage definatly looks interlaced. Then again, perhaps I'm being confused by visable artifacts because it is very low resolution footage (320x240, never seen that before). I tried dropping the footage into two different time lines, settings the same except one is interlaced, one progressive. The footage looks virtually the same in both (suggesting that the footage is progressive, perhaps?)

Like I said, info on the net seems to point to "use your eyes" as the solution, but this brings up two issues. How do I know if the footage is actually interlaced, or if the interlaced look was "baked" into a progressive frame at some earlier point (perhaps when converted to DVD). Second, if the footage is interlaced, how can I possibly tell if it is upperfield domint or lowerfield dominant by just "using my eyes"?

How to import shortcuts from CS5.5 to CC?

forums_noreply@adobe.com — Sat, 03 Aug 2013 01:16:02 GMT

I have a lot of custom shortcuts that I use (remaping JKL to SDF!!), but now that I've gone to Creative Cloud, I cant figure out how to bring in these shortcuts from 5.5. I've gone in the User/AppData/Premiere Pro (I'm on a PC, by the way) and found the saved file that I named for my custome shortcuts setup, and I've moved this from the 5.5 folder to the 7.0 folder, but when I relaunce PP, it does not see this when I open up Keyboard Shortcuts.

Is this possible?

video incorrectly interpreted when imported in CC

forums_noreply@adobe.com — Sat, 03 Aug 2013 16:15:37 GMT

I've been pulling .vob files off of DVD and transcoding them into quicktime DV25 NTSC for editing. I recently upgraded from CS5.5 to Creative Cloud, and now the CC version of Media Encoder is misinterpreting the files on import. The preview versions of the video have part of the right hand side of the frame cut off, which I confirmed is happening on export. The video size should be 720X480, but Media Encoder is saying it is 540X480. I've tried right clicking on the file and adjusting the pixil aspect ratio settings under "Interpret Footage" to no avail.

Going back to the CS5.5 version of Media Encoder it worked fine interperting the footage as 720X480.

Whats going on here? How can I force ME to interpret footage when it is automatically doing it incorrectly?

can I search a sequence for offline clips?

forums_noreply@adobe.com — Mon, 25 Jun 2012 17:49:55 GMT

I just want to check that there is no offline clips in a sequence before I export it. Is this possible in cs5.5?

I have a documentary project that I finished a while ago, but now I need to make a new export. The project got moved around, so I had to relink a lot of the files (I'm not bothering to relink ALL files, since only a fraction got used in the project). I'm going through looking for all "offline media" files, but I want to make sure I don't miss any. What I'm looking for is a way to have Premiere search my current sequence and let me know if there is any offline clips left in there before I export.

This doesn't seem to be a feature, but I'd like to check with you guys first. It's confusing that some kind of "check" isn't run before exporting, something simlare to what Encore does before building an image.

-denez

should I transcode 5D & 7D files for editing?

forums_noreply@adobe.com — Tue, 20 Dec 2011 03:59:07 GMT

I've read several places that h.264 is really only a delivery codec, and though I know that Premiere Pro 5.5 can edit the files natively, I have also heard that decompressing the files makes them more manageable for post-production?

What do you guys think?

It is easier to just skip the transcode process, but would I get better results transcoding first? By the way, I'm running PP on a PC, so I'm thinking there is some sort of formula for decompressing into uncompressed AVI? But I don't really know.

-denez

missing wireframe and position adjusters in comp panel

forums_noreply@adobe.com — Sat, 10 Sep 2011 14:02:13 GMT

Ok, I'm sure this is such a basic question, but suddenly when I highlight a layer in the timeline, or even it's position property, it does not highlight the layer's wireframe outline in the comp panel. Also, the position adjustment handles (the red, green, and blue arrows that adjust the x, y, and z coordinates) are also not visable and missing.

I already tried restarting After Effects with crtl+alt+shift to clear out the user preferences, and still the same behaviour. I think it might be an issue with a preview mode, but I could not get the various attempts to work either.

Any know the probably simple solution to this issue?

-denez

transcode help - .mov to .avi

forums_noreply@adobe.com — Wed, 10 Aug 2011 00:08:25 GMT

I'm very frustrated about the lack of information on transcoding files out there...

Anyway, I have some footage of unknown origin that a client is trying to use on his PC system, and he believes it was created on a Mac (FCP, probably). Sorry about the lack of details, but this is what I was given.

He wants the files coverted to AVI files for his PC setup. I'm guess the problem is in the codec not the quicktime wrapper. So I just want to transcode the files, not compress them. Is this something Media Encoder is used for?

I don't see alot of info out there on this (despite me having to go through a similar operation quite a lot, I get footage from clients and they have little idea of their source, so I must conform). What I've done so far is to run the files through GSpot, it lists the codec as avc1, but Name as H.264.

I droped the files into Media Encoder, used "Uncompressed Microsoft AVI," "V210" as the codec, and set the quality to 100. The end resulted in my original 966 MB files ballooning to over 200 GB!!!!

I just want to rewrap the files and use a different codec, that's all. I don't want to compress the files and I don't want the files to be 10 times their original size. Any suggestions?

-denez

clip waveform in source monitor

forums_noreply@adobe.com — Fri, 05 Aug 2011 15:06:52 GMT

How to I get a video clip's audio wave form to display in the Source monitor so I can edit to the audio. I'm aware that I can Alt+click just the audio in the timeline to bring it up in the Source monitor (this is what I want), but doing this seperates it from the video - if I adjust the in and out points, it affects just the audio not the video.

Also, on a related note, any suggestions on how to add edits directly in this source audio view? What I mean is that I often edit interview clips into the timeline, and later need to edit out small sections, false starts, divergences, er's and um's, tighen pauses, etc, and I need the cuts to be exact. However, the blade tool does not work in this window, so instead I end up placing two markers, then selecting the blade tool, go into the time line, and then make the cuts. I would love it if I could just make the cuts directly in this window.