Premiere Pro export to DVD

[Vince Becquiot]

You should be using squeeze mode if you want native 16:9.

That also means working in widescreen DV in Premiere (1.2 aspect ratio) and keeping that all the way to export. In Encore use 8 MB/s CBR if your DVD is under 1 hour. Otherwise use one of the many bit rate calculators avaailable online to pick the best settings.

Cheers,

Vince Becquiot
Director | Editor

Kaptis Studios
Santa Rosa, CA

[Cliff Potter]

So I shouldn’t be shooting in squeeze mode to get the best results?
I’m confused. I do want to keep what I am shooting in native 16×9 all the way to the DVD.

Cliff Potter
Editor
ERGOMETRICS

[Vince Becquiot]

As I said, “you should”. That’s the only way to get true 16:9.

The other modes either crop the sides to make the footage 4:3, or add bars on top and bottom (letterbox).

Vince Becquiot
Director | Editor

Kaptis Studios
Santa Rosa, CA

[Cliff Potter]

Thanks Vince for taking the time to help me.

Here is my work flow. HVX200A (brand new) shooting (Football games) on DV in squeeze mode, then captured to PPCS3 and exported with Adobe media encoder to encore, then placed in an encore timeline and burned to disc. The 1.2 aspect ratio is kept throughout PP3 and Encore, I have tried deinterlacing and several other switches to see if it makes a difference and it hasn’t. I am getting artifacts around the helmets, almost like a field difference but not, I have had field differences before and this doesn’t flicker like that would.
My theory is something with the squeeze mode is making the footage (recompressing) during the export to encore.
I may try shooting out of squeeze mode to see if the footage looks any better unless you are sure this workflow is correct.

Thanks again for your time.

-Cliff

Cliff Potter
Editor
ERGOMETRICS

[David Dobson]

Did you shoot 24p? 24pa? 30i? If you match the preset to your footage – it will work. Using the encoder preset for wide screen high quality should then produce great results.

[Vince Becquiot]

I think David has has your answer. It seems like a frame rate issue. Squeeze will yield to the best quality resolution wise (although I would certainly recommend shooting in DVCPro instead of DV as long as you have CS3.

Vince Becquiot
Director | Editor

Kaptis Studios
Santa Rosa, CA

[Cliff Potter]

Shot 30i DF

Cliff Potter
Editor
ERGOMETRICS

[Cliff Potter]

I am new to this camera, obviously, you can shoot dvcpro to dv tape?

Cliff Potter
Editor
ERGOMETRICS

[Vince Becquiot]

No, you can only shoot DV on tape, I believe you can archive DVCPro 50 from P2 to tape within the camera.

30i (actually 60i) is standard DV NTSC, so a widescreen DV preset should do the trick.

Keep in mind that it’s interlaced, so you will see the line artifacts when viewed on an LCD screen. The only way around that it to de-interlace on export, but you will cut your resolution in half.

Vince Becquiot
Director | Editor

Kaptis Studios
Santa Rosa, CA

[Cliff Potter]

Hey guys…thought I would let you know that I have done more research and have found that when shooting on the panasonic hvx200 with the setting of DV 480 (60i) the interlacing is just horrible. If you shoot 480 (30p) the image is gorgeous! I guess panasonic knows about the issue and is working on it. Straight from Barry Green himself…. the hvx camera guru.

My only fix for the images that I already have is to do like you have suggested and deinterlace and lose half my data… but gain back at least some useablilty.

Thanks again for all the help.

-Cliff

Cliff Potter
Editor
ERGOMETRICS