Where do I go from here?
For that camera, consumer software. I hear Movie Edit Pro plays nice with such files.
If you have PElements, I'd do the "conversion" there. It is common with many formats, that are designed for "delivery-only" to not edit well in their native state. This happens a lot with DivX and Xvid encoded files, plus many more.
As Jim points out, a "consumer" NLE is the first, best choice. As you have both, PrPro and PE, use PE as the "tool," to get a DV-AVI Type II file and then edit that with the greater power and flexibility of PrPro. That is also why I have PE on one machine - it's a good little tool. I am not comfortible editing in it, so I do, just as you suggest. For the media that it does handle, it does a nice job. For everything else, I use DigitalMedia Converter to do the conversion.
ps. if worse comes to worse, I can convert them to .avi in elements and then import them to PP and the audio is there.....
is the best. Camera>PE>PrPro. When working in formats, that PrPro is not designed to handle natively, convert first, then Import that "intermediate" file and edit away. For those not blessed with a copy of PE, another conversion program is required - you've already got a good one. Just remember that there are some CODEC's that PE also does not handle well. Then, use a full conversion program, like DMC.
For most, Movie Edit Pro would be a very good resource. In this case, the OP is blessed with PE too. For her, it works fine as a file format converter. I'd recommend using it for these files. I use it the exact same way - odd file conversion to DV-AVI Type II. Works better than WMM in most cases, and no problems with DV-AVI Type I's. A lot of folk get OOS issues when ingesting Type I's into PrPro - not all, but some.
I'm glad that she mentioned that she has PE already, 'cause I'd sound like an Adobe salesman, saying "go get a copy of PE, and it'll do the job, between camera and PrPro." She saved me.
Thank you all. I'll just use Elements. I like using it and this is a simple job. I'm glad to hear it's not some other problem.
Any idea about the missing files from Main Concept? What can't I do because those files are missing?
There is a problem with how Adobe writes the name of the MainConcept CODEC's, the ones that the full-version installs. Both G-Spot and Sherlock yield false-positives, as they are looking for a more traditional file naming convention, and miss the Adobe version. These MainConcept CODEC's ARE installed properly, but both of those utility programs do not "see" them, as properly installed. There are several threads on this. One possible explanation that has been offered is that Adobe has an issue with the "trial" version of PrPro. There is NO MPEG support, due to licensing issues with MainConcept. All things MPEG are turned off in the trial. The suggestion on the naming convention was that this was Adobe's way of not having to re-code the installer and the installed trial, and only turn something off, until the full-version was installed and Activated. I do not know whether this is the case, but it sound plausible.
You might want to Search for some of these articles, as there is some good discussion regarding the Adobe MainConcept CODEC's. Maybe put these on your "Summer Reading List?"
What you are most likely experiencing with your files is that you have the proper CODEC's, but PrPro is not working with the one required for the Audio. PE, however, works with it better. This is very common. I have the latest DivX CODEC's properly installed, and all of my players use them. However, only one of my consumer NLE's (used, like you use PE - as a tool) will work properly with these CODEC's. For me, it's no problem. If G-Spot tells me a file is DivX and the client wants it edited, I just convert outside of PrPro to DV-AVI Type II. Yes, quality is down, but that happened when whomever converted it to a highly-compressed streaming format to begin with. Basically, your camera converts its sensor's signals to a compressed, streaming format. It is meant to be viewed and not edited. Well, we want to edit it. This is something that the designers either did not think about, or decided was for too small a segment of their projected market. They chose to use a delviery format, so we have to find a way around that. You have. Good work!
Same thing when one of my clients walks in with similar. I cringe, beg for the original footage, tell them horror stories of the quality loss, etc. It happens to many of us here. At the end of the day, we find a way to do as the client wishes, and produce the best results possible with all sorts of disclaimers and caveats tacked on. Still, it's about getting the work "out the door."
Good luck. I'd say that you are "good to go."
As a PS, the K-Lite pack contains a lot of "stuff." I am first, not a fan of any CODEC pack. I find that many (not pointing all fingers at K-Lite) will overwrite good CODEC's and will shift the "priority" of others. Personally, I install (usually a paid version) just the ones that I need, when I need them.
Some of the issues of "missing" CODEC's *could* come from K-Lite. Compared to many others, it is more benign, but many have still had problems with it and Adobe products. Not meant to scare you, but to just give you something to think about.
Might want to include a Search for some of the CODEC "packs" in that Summer Reading List. Hope that the links to those discussions are not broken, 'cause they do give some great info. Some are horror stories, and some success stories. It seems to be a certain case of YMMV.
Hey, thanks for all this. Now I know what I'm going to do all summer long!!!!!! Oh, why can't codecs be universal?
I'm glad the workaround isn't to bad. I told my client not to buy that camera, but, he had to have the smallest thing.
Now, on to another, ahmmm, more important question.
Should I have a California Chardonnay or a French Vouvray with pasta and leeks braised in oil and garlic.......??
Oh, why can't codecs be universal?
That would be great, would it not. However, the truth is that everyone is working to get the most out of the Video and the Audio. Now, some things are pretty well set - DVD-Video specs., BD specs., etc. Still, every camera mfgr. wants to get the highest number of usable pixels and also accommodate users with other capture schemes and file storage. Each quarter seems to yield something a little new. I doubt that there will ever be an "ultimate" CODEC, scheme, format or storage medium. It does pay to have that Summer Reading List. That is how I spend most of my time on these fora - reading and learning, even if I do not use X today, who knows what tomorrow will bring?
Not the the real question: my first thought would be Verdicchio. I'd look for something that was not too tart, maybe a hint of malolactic fermentation, but not too much. I'd want to "cut" the oil a bit. Were it in a cream sauce, then one could either "cut," or "compliment" the milk element.
A crisp Loire Chenin could also work nicely. Go for dry, with no residual sugar, not even an off-dry.
Only domestic (to me) Chard that springs to mind would possibly be the Sanford (Richard Sanford), especially if one could find one of his Sanford & Bendict (yes, he's back to his old partnership vineyard for some bottlings), or Bien Nacido Vineyard offerings. OK, maybe Jim Clendenen's Au Bon Climat Chards. He too was doing a Bien Nacido. Both winemakers use a lot of stainless steel and not too much oak. I'd guess that neither uses more than 20% malolactic, of if they do, it doesn't really show.
Now, add that cream sauce and I'd be reaching for a Montrachet.
Good luck and let me know which wine you go with.
Well, I guess I got what I asked for.......but.....living in a very remote part of upstate NY, our tiny wine stores (2) carry a very limited selection. I'm sad to say that we had Bogle. It's about the best they have to offer. It's wonderful living up here in the hills of NY, but, amenities are few and far between. Thanks for all the suggestions. Next time I go to NYC, I'll pick up a few bottles.
I understand. When we lived in Colorado, I had access to many different wines, imported and domestic. I received shipments from many wineries in CA, OR and WA. No problems. Moved to AZ, and the offerings are greatly reduced. Most of the good independent retailers will order stuff for me, but the selection is greatly limited. Almost none of my winery contacts can now ship to me. I have to ship to a locker in Napa, and then pay for the wine to come in, be stored, logged out and then the additional shipping to me in AZ. The costs per bottle skyrocket by about 300%, so I really need to want that wine. At least I can purchase from two distributors in CA and still have the wine shipped to me. This is one reason that my 3700 btl. cellar is now up to 5000 btls.. I just cannot buy much of what I love locally. It's getting better in Phoenix, but with the sagging economy, I'm sure I'll see the distribution drop back down. Recently, Costco cut all of their "premium" wines - oh well, sign of the times. I feel your pain.
PS I'm not a big fan of Bogle, but have not had their entire portfolio. Might well be some gems in there, that I have not had.