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This addendum describes the procedures for using the Canopus Premiere Plug-in for Adobe Premiere 6.x or later. This addendum applies only to user of EZDV and DVRaptor.

Adobe Premiere Plug-in Update

2 Adobe Premiere Plug-in Addendum Canopus Corporation

Introduction

The Canopus plug-in for Adobe Premiere allows you to use Canopus EZDV or DVRaptor from within Adobe Premiere to capture and output directly from timeline.

If you do not have the Canopus plug-in for Adobe Premiere installed, please see your Installation Guide for instructions on how to install the Canopus plug-in for Adobe Premiere.

This chapter assumes you have working knowledge of Adobe Premiere and its interface. If you are unfamiliar with Premiere, we suggest you go through the Premiere tutorial before attempting to use Canopus features within Premiere.

The new Premiere Plug-in now supports several realtime operations within Adobe Premiere, including:

• 3-layer Video Track (Canopus DV AVI files only)

• Unlimited title/graphic layers (depends on your system’s CPU power)

• Premiere Fade

• Premiere titles (Rolling Title, Title Motion not supported)

• Shuttle mode

• Audio Mixer

• Alt+scrub monitor output

For optimum peformance, make sure no other programsare running while editing in Premiere.

Canopus Corporation Addendum Adobe Premiere Plug-in 3

Setting the Device Control

In order to use the DV device control in

Batch Capture

,

Movie Capture

, and

Export to Tape

, you need to make sure Premiere is using the appropriate device control module.

To select the device control:

1. Choose

Edit > Preferences > Scratch Disks andDevice Control

. The Preferences dialog appears with

Scratch Disks and Device Control

selected in the drop-down menu.

2. Make sure the

Device Control

option is set to the Canopus Edit program you are using. For example,

Device Control

. You normally only need to set the device control in Premiere the first time you start the application.

3. In the

Scratch Disk

section of the Preferences dialog, set the temporary folders for

Captured Movies

,

Video Previews

and

Audio Temps

. Though this is not absolutely necessary, leaving them at the default settings, especially if you have large projects.

If you need to access these settings later, you can get to them choose

Edit > Preferences > Scratch Disks and Device Control

.

Project Settings

Before starting any work in Premiere, you should verify that your project settings are correct. Without the proper settings, editing is not possible.

Editing Mode

1. Launch Premiere. The

New Project Settings

dialog appears.

2. The

Editing Mode

drop-down menu should be set according to your system configuration. For example, if you are using EZDV, then choose

EZDV

in the drop-down menu.

3. Instead of setting the

Timebase

and

Time Display

settings manually, loading a project preset is most efficient. Click the

Load

button. The

Project Settings

window appears.


4. Select the appropriate preset for your editing application and click the

OK

button.

5. Click the

OK

button in the New Project Settings dialog.

If you need to change these options later, you can access them by choosing

Project > Project Settings > General

.

Capturing in Premiere

You can capture DV AVI files without leaving Premiere. Both batch capture and movie capture are available in Premiere.

Selecting the Input channel

Before you can start capture, you should select the appropriate input channel for capture.

1. Choose

Capture

from the

Project

Settings

drop-down menu. The

Capture Settings

dialog appears.

2. Click the

Option

button to open the Capture options.

3. In the capture options dialog, make sure that the

Capture as reference AVI file

option is disabled.

In general, capturing Reference AVIs in Premiere is not a good idea, as

Movie Capture

captures to a temporary file first, then copies the AVI to the location you specify. The copied AVI still references the temporary file, which causes problems when Premiere eventually overwrites the temporary file with a new capture.

If you have the need to capture Reference AVIs in Premiere, make sure you don’t manually capture anything in Movie Capture while the


option is enabled. For best results, use

Batch Capture

instead.


Batch capture

Batch capture allows you to take a list of clips to capture and captures them all at once, instead of capturing them one by one. Since batch capture relies on device control, you can use this option with DV devices.

Using other third-party device control plug-ins for analog device control while capturing to Canopus DV products may work, but is not supported.

To initiate a batch capture:

1. Choose

File > Capture > Batch capture

. The

Batch Capture

dialog appears.

2. Click the

Add

button to add a batch capture entry. The

Clip Capture Parameters

dialog appears.

3. Enter the

Reel Name

,

File Name

, an optional

Comment

, the

In Time

, and

Out Time

in the boxes. Select the proper

Frame Rate

and

Format

from the drop-down selections. (NTSC is 30 fps, Drop Frame. PAL is 25 fps, Non-Drop Frame).

4. After you enter the information, click the

OK

button to add the entry to the batch list. The entry appears in the

Batch Capture

list.

5. Add any additional clips you want to capture to the list. If you need to access the recording options, click on the upper right corner arrow and choose

Recording Setting

. The

Project Settings

window appears.

6. Click the

Option

button. Make sure the


is disabled and click the

OK

button.

7. When you are ready, click the

Capture

button to start batch capture. The

Movie Capture

window appears and the batch capture starts. You may be prompted to insert the proper tape for each reel.

After capture is complete, your clips are available where you specified them and can proceed to editing.

You can also use Movie Capture mode to scan and log batch capture list entries. See the next section on Movie Capture for more information.


Movie capture

Movie capture allows you to both manually capture a clip as well as scan and mark segments for batch capture. To capture your clips:

1. Choose

File > Capture > Movie capture

. The

Clip Capture Parameters

window appears.

2. Enter a name for the reel you are capturing in the

Reel Name

field and click the

OK

.button. The

Movie Capture

window will appear.

3. You can use the controls at the bottom-left of the Movie Capture window to control your DV deck.

4. To start recording, click the

Record

button.

You can also use

Movie Capture

to mark In/Out points for batch capture.

1. Use the deck control to move through the tape.

2. Click the

Set In

button to mark the current frame as the In point, click the

Set Out

button to mark the current frame as the Out point, then click the

Log In/Out

button to add the entry to the batch list.

Click the

Reel

button to change reel numbers. You can also manually type timecode into the boxes if you want or need to.

For “one-shot” batch capture, you can set the In and Out points, check the

Auto Record

option, then click the

Record

button. It will capture from the set In and Out points.

Shuttle Play controls


Editing in Premiere

Using the Canopus plug-in for Premiere, you can edit Canopus DV AVI clips and Premiere-supported still images and titles in using the Canopus transitions.

As a default setting to allow preview in both camera view and video playback, goto

Project

menu then

General

. Click on

Playback settings

and under Detail Settings, make sure Soft Preview is checked.

Playback Settings

The plug-in playback settings affect certain features, as well as the amount you can do in realtime.

To access the playback settings:

1. Choose

Project > Project Settings > General

. The Project Settings dialog appears

2. Click the

Playback Settings

button The Playback Settings dialog appears..

Enable monitor out preview

enables filter settings preview output through DV and analog. Timeline output is always active whether this option is set or not.

Show buffer status

will display the playback buffer status on the Premiere monitor.

Stop playback at frame drop

will stop timeline playback when a frame drop occurs. Without this checked, timeline playback will drop frames if there are too many effects for the system to play back in real time.

Quick Transparency

will enable you to play keyed and picture-in-picture clips without setting the Alpha channel transparency on the clip. However, this will only work for playback and scrubbing. Proper export requires that you set the Alpha channel transparency.

Color Space

instructs the plug-in to work either in YUV colorspace or RGB colorspace. Set it to

YCbCr (ITU-R BT.601 Compatible)

when you do not need to export AVIs to other programs. Set it to

RGB Emulation

before exporting AVIs out for other programs.

The following are new options in Adobe Premiere 6.0 within the

Playback Setup

dialog.


Overlay Quality

setting (playback setting dialog). You can now select the overlay image quality from three settings. If you select high, the image quality is the best, but it may also effect the realtime playback performance. Lower the image quality to get better realtime playback performance.

Performance

setting (playback setting dialog). By selecting Quick response in the Performance setting, you can set the playback to start immediately after clicking play. This may also effect the realtime performance, and if the playback seems to have frame drops, try selecting standard.

When you insert any type of effects including Canopus Realtime Filters or Transitions, the cutlist will show in red (requires rendering). To check if the area is realtime capable, preview the area by pressing the Space Bar. If a frame drop occurs, the preview will stop and say that the Preview has stopped because of frame drops.


Timeline Output

You can output your timeline to a DV device directly from Premiere using Premiere’s

Export to Tape

function. For output to analog devices, you can simply play the timeline, or use Premiere’s

Print to Video

function.

Export to Tape

To record the timeline to a DV device:

1. Preview the timeline once through to make sure any sections that need rendering are rendered.

2. Choose

File > Export to Tape

. The

Export to Tape

window appears.

3. Use the deck controls to position the tape where you want to start recording.

4. When you are ready to record the timeline out to the DV device, click the

Tape Out

button at the top of the window. The deck starts recording and the timeline plays out to tape automatically.

Print to Video

You can use the

Print to Video

option to output the timeline to a DV or analog device.

While Print to Video offers little benefit over simply playing the timeline and recording the output, it does keep you from worrying about stray mouse clicks that would normally stop timeline playback.

To record your output using Print to Video:


2. Choose

File > Print to Video

.

3. The

Print to Video

dialog appears.

The

Color bars for

n

Seconds

and

Play black for

n

Seconds

options are not supported on the actual output —

they only appear on-screen. If you need black or color

bars at the beginning of your production, you should add those elements to the timeline as clips.


4. Use your camera or deck’s controls to put it into

Record Pause

mode.

5. Click the

OK

button to start playback. You should immediately un-pause your camera or deck to start recording.

When playback is complete, stop your camera or deck using its respective controls.

Exporting a MPEG file

You can create MPEG files directly from Premiere if you have one of the following installed:

• Canopus Amber PCI card with drivers v3.1 or later

• Canopus SoftMPG Encoder software module

The time required to create MPEG files depends on your system speed, unless you have Amber or the hardware MPEG module.

To encode your timeline into a MPEG file:


2. Choose File > Export Movie. The Export Movie dialog appears.

3. Click the Settings button. The Export Movie General settings dialog appears.

4. Select Canopus SoftMPG Encoder in the File Type drop-down menu.

5. Click the Next button. The Export Movie Video settings dialog appears.

6. Choose the appropriate Compressor option for your project in the drop-down menu. The 16:9 options are for 16:9 widescreen projects. Also, select the appropriate frame rate (29.97 for NTSC, 25 for PAL) in the Frame Rate drop-down menu.


7. Click the Next button. The Export Movie Audio options appear.

8. Make sure the Rate is set to 48kHz in the drop-down menu. However, if you are creating a VideoCD MPEG stream, make sure the Rate is set to 44.1 kHz.

9. Click the OK button. You will return to the Export Movie dialog.

10. Specify a filename and location for the output and click the Save button. The MPEG dialog appears.

MPEG options• MPEG1 System Stream generates a multiplexed MPEG-

1 file with both audio and video in the same file.

This option appears grayed out if there is no audio in the project.

• MPEG1 Elementary Stream generates separate MPEG-1 video and/or audio streams. Select whether to generate audio, video, or both streams (2 files) by checking or un-checking the Create video stream and Create audio stream boxes.

Elementary streams are more often used by DVD-authoring software.

• MPEG2 Program Stream generates a multiplexed MPEG-2 file with both audio and video in the same file.

This option appears grayed out if there is no audio in the project.

• MPEG2 Elementary Stream generates separate MPEG-2 video and/or audio streams. Select whether to generate audio, video, or both streams (2 files) by checking or un-checking the Create video stream and Create audio stream boxes.

Elementary streams are most often used by DVD-authoring software.

• Video CD generates a multiplexed MPEG-1 file with both audio and video in the same file. Use this setting when authoring Video CDs, as this will set the appropriate encoding parameters for White Book Video CD. This option appears grayed out if there is no audio in


the project or if the Rate in the Premiere Export Movie audio setting is not set to 44.1 kHz.

When you click the Next button, the Video dialog appears.

Video options

Bit rate control The bit rate drop-down menus allow you to set the quality of the encoding. The video bit rate settings depend on the MPEG type your are capturing.

• With MPEG-1, the bit rate is limited to 1.5 Mbps.

• With MPEG-2, you can adjust the bit rate up to 15 Mbps.

• DVD home video is approximately 4 Mbps to 8 Mbps.

The CBR and VBR radio buttons determine the bitrate variance.

CBR stands for constant bit rate. This option assigns a specific bit rate to your video, regardless of its complexity. Because the same amount of data is being allocated to each frame of video, picture quality may vary depending on whether or not your subject is moving or not.

For example, a news anchor would not have a lot happening in the video, only lips and head moving. This means that the bit rate can be lowered, while still maintaining quality. However, if the video gets more complex (i.e. fast action), then quality decreases and a higher bit rate would be necessary.

Set the CBR bit rate in the Bit rate drop-down menu.

VBR stands for variable bit rate. This options assigns bit rates to your video depending on the complexity of your footage. Video that contains little or no motion will be allocated less data than video that contains a lot of motion. If your video is a mix of static and action footage, VBR may be a good option for maintaining picture quality

For example, let’s say you are encoding a news broadcast that contains the sports anchor and then cuts to football highlights. With VBR, the MPEG encoder reduces the bit rate to the frames containing the sports anchor sitting at the news desk, which is fairly static, and increases the bit rate during the football highlights, which contain a lot of motion. There is no loss in quality for either the static or the action footage since the encoder allocates the appropriate bit rate for each frame.


Set the base bit rate in the Bit rate drop-down menu and set the maximum (peak) bit rate in the Max drop-down menu. Export as MPEG performs a single-pass VBR encoding.

GOP PatternThe GOP Pattern is the frame arrangement in an MPEG stream. The GOP consists of a variable number of I, B and P frames.

You should leave the Picture and Interval options at their defaults.

If you use IBBP you will receive the best quality at a low data rate. If you use I-frame only you will receive high quality but at a higher data rate. When you want to minimize bandwidth and maintain quality use IBBP as the GOP. I-frame only encoding is used only in special cases.

GOPs for streaming creates GOPs which are compatible for streaming. GOPs are sized so they can be sent as full units and the receiver will not receive partial GOPs.

Closed GOPs create GOPs which do not reference outside of themselves. This is useful in cases where GOPs may occur individually or intermittently and not as a part of a continuous stream.

Other OptionsProfile & Level determine certain parameters of the MPEG encoding.

• MP@ML (Main Profile at Main Level) is the most efficient method of MPEG2 compression for full-frame video and is also the most common profile used for DVD-authoring. MP@ML uses I, B, and P frames.

• SP@ML (Simple Profile at Main Level) is less efficient than MP@ML, but requires a little less effort to decode. SP@ML uses I and P frames.

• MP@LL (Main Profile at Low Level) is the most efficient method of MPEG-2 compression for half-frame video. It uses I, B, and P frames.

• I-Frame only is the least efficient compression method and is similar to Motion JPEG (MJPEG).

Image Size determines the size of the output image. The image size selection depends on the MPEG type you have selected. FULL encodes a full frame (720x480 for NTSC, 720x576 for PAL), HALF encodes a half horizontal resolution frame


(352x480 for NTSC, 352x576 for PAL), and SIF encodes a half-size frame (352x240 for NTSC, 352x288 for PAL).

When you click the Next button, the Audio dialog appears unless you have selected not to encode audio or the timeline does not contain audio.

Audio optionsSampling rate determines the fidelity of the output audio. The higher the sampling rate, the wider the range of frequencies reproduced.

Audio format determines the audio encoding format.When encoding elementary streams, the WAVE selection will generate a stereo PCM uncompressed .WAV file corresponding to the video.Layer2 will generate MPEG Layer II audio.

Audio bit rate (not available with PCM WAVE) determines the number of bits allocated to audio. The higher the bit rate, the better the audio reproduction will be, but the more space the audio will require.

Channels specifies one of four modes of operation when encoding audio. The different modes all maintain quality but in the Stereo and Joint modes, stereo calculations are made to decrease bandwidth by using similarities between the two stereo channels.

• Dual creates two independent mono channels similar to traditional stereo recording.

• Mono creates a single monophonic channel

• Stereo creates two stereo channels which share data reducing the amount of information needed to maintain high quality.

• Joint creates two stereo channels which correlate to each other to take advantage of common sounds and tones. This is the most efficient way of maintaining quality and decreasing bandwidth.

Emphasis specifies whether or not to boost the high frequencies of sound to reduce noise. The playback device should detect whether the sound was encoded with emphasis and compensate as necessary.

• None specifies that no emphasis should be added. Audio will be encoded “as-is.”


• 50/15 µs specifies a 50/15 µs emphasis curve.

• CCITT J17 specifies a CCITT J.17 emphasis curve.

When you click the Next button, the Output dialog appears. This is the last dialog before encoding begins.

Output optionsMPEG file naming follows this convention:

• .mpa — MPEG-1 audio elementary stream

• .mpv — MPEG-1 video elementary stream

• .mpg — MPEG-1 multiplex system stream

• .m2a — MPEG-2 audio elementary stream

• .m2v — MPEG-2 video elementary stream

• .m2p — MPEG-2 multiplex program stream

The Video and Audio boxes are used when you are encoding elementary streams. The MPEG box is used when you encode a multiplexed stream. The Browse button allows you to specify the drive and folder for each drive.

When Set same output folder is checked, all output files go to the specified directory. The Drive and Folder, buttons allow you to specify the drive and folder for the output files.

MPEG-1 files can be played in Windows Media Player and loaded into Premiere, MPEG-2 files require extra MPEG-2 decoding hardware or software.

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