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Mar 13, 2013 - The easiest way to set up a sequence with the right settings for your footage is to first import the video footage into your Premiere Pro project. In the properties for the clip and you can choose a sequence preset accordingly. Install Premiere Pro CC, After Effects CC, Audition CC, SpeedGrade CC, Prelude CC, Encore CS6, and Media Encoder CC using the serial number labeled as Video. To resolve this issue, reserialize using the Adobe Provisioning Toolkit, Enterprise Edition.
Hey all, I've been working with Premiere for quite some time now and I came across something and its got me confused. When I bring in a Canon 5d mark 3 footage and drag it to make a sequence in Premiere directly out of it, it sets the camera as ARRI Camera. BUT when I go and make a sequence myself I set it up as Digital SLR. Both ways the footage is placed in the sequence with now issues. What's confusing me is why does it set canon footage as Arri, do they have something similar that im missing?
Keep in mind that Premiere Pro edit sequences have three attributes. Frame size 2. Frame rate 3. Pixel aspect ratio That's it.
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The presets are there for those who feel like they lack the technical knowledge in general.or in some cases, have material from an unfamiliar capture device and 'rolling their own' sequence settings seems too technical to make a mistake on. So then the 1920x1080, 23.976p, 1.0 PAR sequence settings are all identical whether it's XDcamEX, AVC-Intra, DSLR, etc. At one time, this was really quite necessary as DVCProHD, XDcamHD (disc-based) and HDV spooked a lot of editors back in the day as these formats don't use square pixel aspect and when you had 1080 footage, it could be only 1440 wide in HDV or XDcamHD.or it could be 1440 wide in DVCproHD 25fps, or only 1280 in 29.97 fps. Setting the wrong pixel aspect would cause all footage to have to render to adapt the pixel raster sizes, causing very frustrating delays for editors who weren't universally knowledgeable in every manufacturer's hidden compromises to make many early HD formats practical to use. The sequence presets are there for user convenience.whether the codec itself is 4:4:4, 4:2:2, 4:2:0, etc, is all done in the decoding of the video itself and doesn't have anything to do with the sequence setting. So.a weird attribute of this system that is very confusing to users (reported to Adobe every development cycle in recent memory by me by the way) is that when you drag a clip and have Premiere Pro create an appropriate sequence, it simply looks for the first compliant preset in the library alphabetically that fits the three factors mentioned earlier. Prior to the existence of an ARRI preset, it would have ended up choosing AVC-Intra (A-R now alphabetically trumps A-V).
The confusing preset choice and naming aside, the specs that Premiere Pro chooses under those circumstances are technically correct in almost all situations. Hopefully that's helpful. TimK, Director, Consultant Kolb Productions, Adobe Certified Instructor. [Ann Bens] 'If you use the New Item Icon you get AVCintra with ist AVCintra preview codec default.' You caught me red-handed. I used the word 'primarily' as I didn't have time today to test every preset at that point.and they did change the default preview codec on the AVC-Intra sequence settings to AVC-Intra, and the XDcamHD sequence presets (not EX) to XDcamHD in CC. Since the preview setting is something that isn't involved in the designation of what sequence preset will be used, in cases where Premiere Pro can't identify the codec (unlike some formats, XDcam HD among them, where it does seem to pick correctly as of version CC.).