Encore CS6 and Bluray

[Nanda Pilaka]

hi Jeff,

1 – yes that was intentional to encode to Matrox H.264 1080p 23.98, I think it was because I liked that look better for some clips. If you have any recommendations on why this need not be done or should not be done, please share. This has always been my workflow. Capture to 1080i 29.97 Matrox AVI, export to H.264 23.98, import to Encore, build/burn. Maybe I will try to encode to Matrox H.264 1080i 29.97.

2 – I just remembered that I had ‘filled up’ another bluray disk w/ a 22.xGB image size and it was not the bitrate that did this, but the duration, while keeping the bitrate default of either 25 (4.1) or 15 (4.0) in the Matrox preset.

3. When I tried to build image using the 40MBps bit rate Matrox H.264 video file, after importing the file, Encore threw an error that the bitrate of the file exceeds the bluray spec – like you said. So, I guess the practical limit is lower than the theoretical limit. Although I recall being able to go up to 30-35Mbps.

Lastly my q was more about why the image file size REDUCED to 3.86GB, when I simply increased the bitrate to 40Mbps in Transcode Settings, but went back to 15.xGB when I reverted to default Transcode Settings of 15Mbps or 25Mbps.

I would expect then that Encore CS6 to not give the option of a 40MBps bit rate in the Project Settings or Default Transcode Settings.

thank you again for your prompt reply.

Nanda Pilaka

[Jeff Pulera]

Hi,

If you want to change the frame rate and are happy with the resulting look, that is fine, just wanted to make sure that was your intention. Sometimes, changing frame rates produce undesirable results.

I never change the default transcode settings in Encore, for DVD or Blu-ray. As I’m encoding compliant assets right out of Premiere, they remain unchanged in Encore. Some people have complained that Encore does not always show the correct file size estimate, could be what you have encountered

Thanks

Jeff Pulera
Safe Harbor Computers

[Nanda Pilaka]

Thank you Jeff.
I used the defaults and it built the image just fine.

Nanda Pilaka

[Ht Davis]

I just read through this and Thought I’d add something…

mpeg2 some have said means an mpeg file, while mpeg2dvd is a preset. For those who like everything to be spelled out perfectly (i.e. the anal OCD sufferers who think they’re the best at everything and just have to try and prove it), go in the other room for a bit and let the grown ups talk. For the rest of you, whom I cherish as friends (though I’ve never met you and I’m not asking to):

Mpeg2 encodings for DVD and H264 both get transcoded by encore as separated files of video and audio, but it will only list one of them, and will only allow you to pick the video as an asset from within cs6 encore after you transcode with presets in encore or AME. Here are a few tips I’ve put together as I’ve seen the issues in my recent work:

1. If you’re going from your raw video stream, try to match the bit rate as close as possible. This will cut down on reencoding time. First, rip the audio in an uncompressed WAV file, and find out all you can about it. I usually save it as a PCM MOV format, and then use any player with an advanced inspection window to grab the audio file info. This lets me adjust for audio bitrate.
2. AME doesn’t separate the video encodings as well on its own. I usually pass it out as a full format, then compress. I’ve used AVC and prores. Remember that your bit rate adjusts how much information will move through the system every second, and this will also adjust the JPEG quality of your frames. JPEG is a compressed image. Top that off with the fact that only the changes are tracked, and even those are compressed down, you will be dropping some data in favor of speed. When the data is moved, the pieces are put back together on the fly, and even with the loss of some quality in the frames, it’s extremely difficult, if not impossible, to tell. That said, you can use any encoder that will allow you to make an MPEG2 m2v stream to encode for dvd or bluray, just make it as a separated video stream (no audio), and make an ec3 or ac3 audio file for audio. When you are in encore, right click the asset and click “Locate Transcode” if you are using a sequence or a standard video, and then pick the video, then it will ask for audio. By separating their encodes, you don’t link the files within one another the way encore does, and it will allow you to pick both separately.
3. IF you are using the same format for either disc, remember, DVD has a max rate of about 15mbps. Blu-ray AVCHD encoded to dvd will use this maximum. Standard DVD is defined as 8-10mbps, with audio. If you are in full res and fullest quality when you start, then the encoding will have better quality at lower bitrates, because it will be more accurate. In such instances, you can settle for a single pass VBR.
4. If you are encoding from raw streams, you may want to use a 2 pass algorithm with VBR, and also, you may want to set aside some serious time… …it will take a while. Set your DVD at 9mpbs max, 8mbps target in AME, and in others, you can set the min to 5, giving you a wide area to encode, and maintain quality. Set your audio to AC3 encoding at 512bps or less. With H264 you can go 25mbps max with 15mbps at the low end. If you want to use the same encoding for both, set your mpeg2 for your blu-ray to 15-25, which will increase quality unless you also bump the resolution up one step. They will both look similar when played back on smaller screens, but on larger screens there will be a difference.

My encodings:
Raw– I use FCP for raw encodes and simple clips. It allows me to just make a quick cut and spit out something for the web. Other than that, it’s useless. I usually do multi cam, and when I spit out a clip for a preview, it’s just one cam. I archive everything and back it up. I always use VBR, with standard quality settings on the encoding. When I use a single cam, and just want to output to a disc, I encode to avchd using compressor if I go bluray, and separate the task among several computers ( i do similar with m2v for dvd and just use the preset boundaries in compressor with DVD). With RAW I always set a 2 pass encoding, which scans each frame with a second algorithm to define changes, and find areas where it can compress the frame. This increases file size (in my experience) and increases quality. Just remember, the encoding uses 2 passes. The playback uses 1. Playback usually reverses the original single pass algorithm (again with some loss) to rebuild each frame on the fly.

full edit–
I use Premiere pro for editing larger multi cam projects. There have been complaints about sync issues with sound. Let me clarify this for you… …Premiere doesn’t crash like all the others when you try to synchronize the sound. If the sound slips away from the video, it’s because the source has a variable frame rate (most cameras do this by default to combat camera shake, but the algorithm does make mistakes). To combat this, adobe lets you fix smaller problems with this phenomena by transcoding your video to a full format, and if you turn on frame blending, it will fix the missing frames for you, keeping sync. CC will also try to sync by audio on it’s own now. It does well, I’ve only used CC twice, but I like the workflow well enough to call it one of the better features. The bulk of my work is in cs5 or 6, and I rent out the studio space as needed. I render out the full files to RAID drives, then create proxies if I deem necessary, and go from there. I always transcode before an edit. Let me say that again: I ALWAYS TRANSCODE BEFORE EDITING LARGER PROJECTS ESPECIALLY IF THE CAMERAS ARE:
1. MIXED BRAND
2. PROSUMER OR CONSUMER GRADE OR PHONE OR DEVICE
3. UNKNOWN

I just wish that there was a way to get the video into a machine using the AVCHD folder as a file, that way it would see it as a whole video. The transport streams are all separated…
PRELUDE:
When I have to put them together, the transport streams can be a big pain in the butt. However, Prelude is a big help. Since I probably need to transcode anyway, I use it to tie them together. First, create presets for the work in AME and turn on frame blending before saving the preset. Go to prelude, set it up to grab all the files, select the first one, hold shift and select the last; now click on concatenate box, and give the new file a name, pick your transcode preset and let it go. With RAID drives, this is a little faster. With faster gfx cards and processors, it flies. Now the stream will be transcoded as a single file, and with the frame blending on, dropped frames that occur in some camera transport streams are repaired (since it’s usually a small 1-2frame drop, it really doesn’t show). Audio becomes a problem at this point. Some cameras drop audio in between stream points when recording to cards instead of discs or tapes. The reason is that the file system, processor and amount of active memory in the camera are not fast or resilient enough to buffer the data properly. With a disc, the data is written in blocks and the next block is queued such that it’s max size is always the same; when that pushes beyond the stream transport buffer size, a new chunk is created, on the fly, preventing the drop in data transport.

Prelude is a great place to create your clips for log-and transport operations, but it lacks the same kick that FCP has. It’s more of a file prep than it is a logging app. You can transport the rough cuts to premiere as sequences, and use them like clips, but it still lacks that metadata connection. Personally, I’d love to take a class that taught metadata tagging and logging. I haven’t been able to find one. I’d be happy to hear of any you find online, though I usually prefer local campus and interaction with people over the cold interpolated calculation of a computer screen.

Hope this is useful to you.

[Michael Scalise]

Trying to get in touch with Jeff…how do I message him…need help with Adobe Media Encoder and exporting for Blu ray…Thanks!

Michael Scalise
Black Tie Productions

[Jeff Pulera]

Hi Michael,

jeffp at sharbor dot com

Thanks

Jeff Pulera
Safe Harbor Computers