[Brian Dilorenzo]

Hi Scott,

For posting this…THANK YOU. I’ve been searching the internet for days for a clear answer on this…The Amazon support page never mentions 608 or 708. I ordered my captions from Rev.com, which their team told me defaults to 608 captions. I’ve been fixing / going through hurdles for days and days…I thought since 708 is the more “modern” coding system, it would be the preferred standard but appears that’s not the case…

Just had one followup question: I read on one of the forums that the little music symbols that appear on-screen whenever a song is playing were considered illegal..I can’t find any other article that supports that claim…In your experience, did you have music lyrics in your captions with the little music symbol and was it a problem at all?

Thanks again for your help,
Brian

[Brian Dilorenzo]

Not a 100% sure if it’s resolved (haven’t tested on a large theater screen) but I believe the issue has been, at least improved, with a 3% Gaussian blur. Don’t go too far to the point where you lose sharpness, but it seems to take some of the motion artifacting away.

[Brian Dilorenzo]

Okay thanks I’ll give it a shot!

[Brian Dilorenzo]

Thanks Shane, that is helpful.

Since I’m getting the error upon loading up the XML and seeing the splash screen for Offline Media, would the best move be to… Offline it all, let the XML sequence load into Premiere, then just remove all that audio off the timeline, and try the reconnect again?

Is Premiere not happy because there’s a mismatch in the two audio sets (one from Davinci and one from my Premiere Project) or if by removing the audio entirely, it shouldn’t care at all?

[Brian Dilorenzo]

Thanks David…Would you vouch for this workflow?

According to Ken Stone, export using “Current Settings” and then drag the stand-alone file into Compressor and use the regular Compressor 90-minute settings. Do I have to customize after that, such as manually changing the encoder to read 23.98?

[Brian Dilorenzo]

Thanks Gary. I understand now I must recreate my project and sequence settings into 24p. I just don’t understand what 60i has to do with it. Are you saying I should export it as 60i when I’m finished remaking my timeline?

[Brian Dilorenzo]

I hear ya Shane. What I was thinking was after giving copying the sequence over to 24p timeline another go, I’d try this as my “plan B.”

Make a new 24p sequence. Copy and paste old sequence onto there, which won’t scale for some reason. Manually match frame each shot back to my source footage with my master audio track. It sounds a little crazy but I’m just wondering in theory if it would work.

[Brian Dilorenzo]

I see your point. I will give that a shot. Honestly, it’s ticking me off so bad, I may take the hard road and match-frame my sequence back to the original 24p footage. You think that would solve my problems if copying it into a new sequence doesn’t work?

[Brian Dilorenzo]

Thanks Shane. Is that in direct cause of the weird DVD encode? Only reason I ask because when played off the QuickTime on my computer it looks fine. I’ve also had trouble in the past when copying the sequence back over to 24 with rescaling and stretched aspect ratio…