CS4 Premiere Pro – Graphic/AE Quality Issues

[Tim Robinson]

When you say “highest quality settings” what do you mean, are you using presets? The default in Premiere for “high” uses variable bit rates, instead of constant. If it’s a small project with static images, you should try constant bit rates and go with the highest quality possible. To do that in CS4 in the premiere exporter, click the double arrow button near export video / audio (greyd out device central) for detailed tabs to appear (why it’s now hidden by default, I don’t know). Under the video tab turn quality up to 5 and down under bitrate settings click the drop-down by bitrate encoding and pick CBR. Anything around 5-6-7 Mbps should be good.

Tim Robinson
tim@erobinsons.com
Pride-Mobility-Products
Corporate Video Editor

[Vince Becquiot]

Are you sure the graphics are being interpreted as 0.9 in Premiere?

Vince Becquiot

Kaptis Studios
San Francisco – Bay Area

[Rob Mack]

This post is pretty far in the past but we just ran across something similar and I was searching around for others with similar problems.

We have a mix of CS2 and CS4 suites. Photoshop CS4 defines a D1 PAR as 0.91. Photoshop CS2 defines a D1 PAR as 0.9.

PPro CS2 assumes a PAR of 0.9. PPro CS4 assumes a PAR of 0.91. I don’t think any of these uses 0.9091 (Vegas does, though).

PPro takes these numbers very literally. If you create an image in Photoshop CS4 that is D1/0.91, PPro CS2 will treat it as “not quite right” and you can have poor image quality when you are fitting an image to your frame size.

The image itself is still 720×486 but you have to make the PARs match in all three applications.

Rob Mack

[Jon Barrie]

The frame size is critical.
NTSC can be 720×480 or 720×486.
These 6 lines can make a huge difference, make sure there is a line for line or pixel perfect dimension match across the entire workflow.
With CS4 and above the new PAR will never go back to previous PAR of CS3 products and below.
The way around this is to work at the ascpect ratio that suits the visual composition (widescreen) and then export or switch Photoshop to a square pixel PAR. Then let the program import assets as square PAR and manually correct the PAR in the NLE.
Quality should be maintained because the pixel dimensions are never different just the stretch at the end of the line, which can never be avoided that is just how SD formats work.

– Jon Barrie

Jon Barrie
aJBprods
http://www.jonbarrie.net
http://www.suiteskills.com