[Alessio Gemma]

Thanks Kevin,
now I’m in trouble if I’ve to upgrade my CS3 suite or upgrade my FCS to version 7… this simple “share” function semms to be the best workflow for my needs.

I saw, as you say, about tha ability to make a Red-Ray disc with AVCHD compression with this function: it sounds great.

Regards,
Alessio

[Alessio Gemma]

Thanks Larry for your reply.
I saw the link you posted and I got good news about the use of Encore for Blu-ray Authoring. So the answer to my question is: yes, i can use Encore CS3 for Blu-ray authoring, keeping in mind the limitations they are inside the software, but for a simple disc it may works.

Regards,
Alessio

[Alessio Gemma]

Thanks Chris,
I followed your discussion about Toast settings in the forum and how you solved the issue, manually setting the program! Very interesting and cuttet/copied the solution on a text document in the Roxio folder 🙂
Anyway, I’ll prefer to author in Encore.. the open question is if I can do this in CS3 version!

Alessio

[Alessio Gemma]

Great!
It’s really what I was looking for! 🙂
Thanks Don!
Alessio

[Alessio Gemma]

Hello,
I’ve the same problem… I’ve both SD 4:3 material and HDV 16:9 and my target is a SD 16:9.
I use a SD 16:9 sequence: I drag the SD 4:3 clip in the timeline and then I refuse the changing of sequence setting.. I double-click the clip to open it in the viewer, I upscale the 4:3 clip to reach the 16:9 bounds, obtaining a full widescreen clip.
Now, I copy (CMD-C) the clip attributes (with the Viewer selected), I drag another clip in the sequence, I select it and I paste (ALT-V) the settings copied previously… but it doesn’t work… the clip remains 4:3…
Where I mistake?
Regards,
Alessio

[Alessio Gemma]

Ok, I’ll try your settings.
But.. if I directly export from FCP to Compressor, without creating any QT clip.. do you think it’d be better?

I told tou about the progressive source, because I read an article on Adobe Web Site about FLV compression, where the authors wrote to start from a progressive source to encode in FLV video format.
Here the link:

https://www.adobe.com/designcenter/dialogbox/encode_video_02.html

Regards,
Alessio

[Alessio Gemma]

Thanks Daniel, I suspected this..
So, for example… I edit a DV PAL video in FCP and then I export in a ProRes 422 Progressive’s self contained clip: starting from this, I use Compressor to get the Web Clips I need. Do you think is the right workflow?

Do you think it’d be better to resize the clip directly from the first export or let the Compressor do the resize? I know that some codecs suffer and loose quality when resizing clips.

Regards,
Alessio

[Alessio Gemma]

[Heath] “It doesn’t matter if you transcode or create a .m2v file in another application, like Premiere Pro, or within Encore, but either way, you have to specify the pixel aspect ratio when you create the file.”

Great, this’ the finalk answer I was looking for. I always make compression first and then the authoring. IF there’s any advance using one method or the other one.. well, I’ll continue with my workflow.

Thank you Heath.

Regards,
Alessio

[Alessio Gemma]

[Heath] “In your original post, you said that this did not show in Premiere and Encore before burning to DVD.”

I work with Final Cut and Media 100, who posted the thread works with Premiere, Marcin Idzikowski.

[Heath] “We’re probably still talking about temporal compression artifacting, since HDV also employs temporal compression. If this is how the original footage looks, then there is nothing you can do about it at this point.”

Yeah, I can’t do anything, I know.. it’s an issue of my camcorder, Sony V1E, because with the previous one I never had this problem.

[Heath] “Out of curiosity, why are you capturing HDV through HDMI with an Intensity card? You’d probably be better off capturing over firewire, so that it doesn’t have to uncompress, then recompress, as it would if you captured from HDMI. HDMI capture will only provide a superior quality capture if you are doing a live feed. Once you’ve laid it to tape, you’ve already compressed it, so you want to try to keep your levels of recompression to a minimum.”

Yeah, you’re right. Capturing from HDMI gives me the same quality than HDV capturing.
Anyway, I still edit in Media 100 Producer: there’s no native support to HDV in this software, so capturing full HD footage at 1920×1080 from HDMI gives me the opportunity to fast import the captured clip in Media 100 (it only accepts SD or HD formas).. this’s all… maybe it’s not a good workflow, but it works great and the final DVD quality is excellent (much more than DVCAM tapes).

Heath, you sounds an expert, so I’d like to ask you something..
I’d like to downconvert some captured clips from HD/HDV to SD: I didn’t do it in hardware, because I see some strobe effects in the captured clips (I’m sure my FCP settings are right, they work fine with HDV and HDMI capturing, but not with HDV->DV downconverting).
So, is there a good workflow to downconvert in software, using Apple Compressor?

Best regards,
Alessio

[Alessio Gemma]

Heath,
I thought it was that you described, but I’m sure the problem is on the camcorder.
When I capture from the HDV tape (using HDMI interface) I can monitor the capturing on a big LCD in real time, thanks to Intensity card: well, when there’s a flash camera, the videostream becomes “all white” for some frames, even if the flash is quite far from the camcorder.
I captured a clip and I compressed it with a 2pass encoding without any kind of ediding: well, the final compressed clip has the same artifact and it looks amplified too!
Maybe it could be useful to post a sample somewhere.
Regards,
Alessio