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By saying 'my students' I assume you are the teacher. If so, I suggest a crash course in video editing in general and PP in particular. HDV is by definition MPEG compressed. AVI is just a wrapper that does not tell anything about the contents (codec).
Yes I'm a teacher, which equals lack of resources and time! ICT don't know anything about it but they've put all this new gear in my hands. I have done quite a bit of research into PP already (hours!) and I had 1.5 working fine. I really have come to a dead end and I'm starting to get stressed over something you could probably answer in 2 mins. please explain this to me further. Is it OK that its capturing in mpeg? Help!
> Is it OK that its capturing in mpeg?
That is how it should be. Did you look at a crash course? A teacher should master the stuff he is teaching. Creative minds always have been known to survive any kind of bad training, but that is no excuse for not knowing your stuff.
I have to agree with Harm. You do your students a disservice by not being an expert in this field. You can't teach what you don't know. See if you can convince the school of that viewpoint and have them get you properly educated in video production in general at least, and then maybe Premiere specifically.
To answer this question, both versions of Premiere will capture DV material as an AVI file, and HDV as MPEG files. What changed on your end wasn't so much Premiere, but the format from the camera (assuming there are no third party additions like Matrox involved.)
How is the output of the camera set? AFAIK, HDV cameras can be set to output DV, which produces an AVI file when captured, or to output HDV, which produces mpeg video files.
PPro CS3 is designed to edit HDV mpeg files if your computer is beefy enough.
As long as you understand the limitations of long-GOP and temporally-compressed MPEG2 HDV files (i.e., the limitations of the format itself), you shouldn't have any difficulties.
Be patient and deliberate in your editing; assume a certain fragility to these files, and give Premiere time to process them after you import them. Save incremented versions of your projects often.
This question is for my edification, but is in keeping with the OPs questions (or at least, I hope that it is).
Are you saying that the Sony HDV camera (assuming its the same model, etc., used in captures with PP 1.5) will allow output to either DV, or HDV, via its settings?
I was unaware that PP 1.5 could handle any HDV footage, unless converted to DV. Is that correct? If so, then that conversion was likely done by the camera - correct?
In PP-CS3, would that in-camera conversion still be possible, in this case? Other than losing the HDV capability, and its resolution, etc., would there be any drawbacks with the students doing it that way, of the purpose of editing in class? Now, if the camera shoots natively MPG-2, how badly is that in-camera conversion likely to be?
Provided that the schools computers can handle editing the HDV material, would the class be better off keeping the native format, taking your above caveats into consideration?
i Be patient and deliberate in your editing; assume a certain fragility to these files, and give Premiere time to process them after you import them. Save incremented versions of your projects often.
Hope I have not taken this too off-topic, but Im trying to shore-up MY education, for when/if I ever launch into HDV (by whatever means) taping, capture and editing.
>Sony HDV camera will allow output to either DV, or HDV, via its settings?
I think most HDV cameras can do this.
>I was unaware that PP 1.5 could handle any HDV
I believe the 1.5.1 update made this possible for the first time in Premiere.
>In PP-CS3, would that in-camera conversion still be possible, in this case?
Since it's a camera setting independent of any NLE, yes.
>Provided that the schools computers can handle editing the HDV material, would the class be better off keeping the native format, taking your above caveats into consideration?
I think keeping it native or using an intermediate lossless codec like Cineform Aspect or Prospect would be equally successful. The advantages of one or the other have been well-discussed on these forums.
>I believe the 1.5.1 update made this possible for the first time in Premiere
Additionally, didn't the 1.5.1 update use the Cineform intermediate codec? That would explain how one could capture to AVI from HDV camera output.
Jim & Jeff,
Thanks for helping me with MY HDV education.
It also explains how the OP was able to do, what was done, in 1.5. It also sounds like there would not be a limitation on doing it in CS3, especially if Cineform, or Prospect, were used. Or, if they took Jeff's advice to just stay with the MPG-2 and understand the aspects (no pun intended) of doing so.
I've tried to follow most of the discussions on HDV, and Cineform & Prospect, but reading is one thing, and doing is another. I have a lot of the posts bookmarked, should I make the switch for DV.
Your input is greatly appreciated,
>Additionally, didn't the 1.5.1 update use the Cineform intermediate codec?
I could be wrong, but I think I recall Steven saying that he purchased and used the Cineform codec, which he found superior to the native handling by 1.5.1, which would seem to indicate that 1.5.1 wasn't using an intermediary.
It's also my understanding that conversion to Cineform is required after capture, not during.
Premiere Pro 1.5 was the latest software available when I first purchased Cineform Aspect HD.
When the free upgrade to Premiere Pro 1.5.1 came out, then Premiere Pro captured HDV to the Cineform codec. But my PC was too slow to capture and convert in one step, so I still needed Aspect HD because it came with HDLink, which allowed me to capture then convert, in two steps, which was easier on the PC and eliminated dropped frames.
So the answer for Kiely is that he (she?) needs to learn to capture MPEG2 and edit native HDV, or purchase (cause to be purchased) Cineform Aspect HD.
Try editing native HDV, it should be OK with CS3.
Thankyou to everyone. To clarify, yes I'm a she. I appreciate your suggestions for more research, crash courses etc. and agree. However, this is the reality of the high school classroom and teaching media studies of which the practical component is only around 20%. I will continue to chip away at this and it's good to know that there are experts out there to help. Murphys law - I thought It was under control then they changed everything. Trust me, if I was an expert in technology - I wouldn't be a high school teacher. But I'm learning with your help. Thanks again.
Have a look at 'Total Training'. They have a large collection of training modules for PP, AE, etc. to get you up to speed. PP is not a program you can learn in a couple of hours.
>I was an expert in technology - I wouldn't be a high school teacher.
My high school mechanical and electrical engineering teachers were, as were the computer science teachers.
Bottom line, a teacher really needs to thoroughly know their material. Wouldn't you agree?
Must have been fun being one of your teachers Jim!
I did give them the occasional headache.