[Chris Wright]

https://discussions.apple.com/thread/4160002?start=15

A52Codec.component into ..>Library>QuickTime
or
https://savvyadmin.com/extract-ac3-dolby-digital-with-ffmpeg/

[Chris Wright]

I don’t know exactly what your video looks like. did it record every few seconds so you’re actually only 7fps?

or is it 24fps with a bunch of duplicates that you can safely remove and still have 24fps?
remove duplicate frames automatically.
https://aescripts.com/duplicate-frame-remover/

7fps to 24fps optical conversion won’t work very well in my opinion, but on the other hand, timestretch would be really fast.

[Chris Wright]

just go back to the 25fps file, Modify > Interpret Footage as 24 then render out just the sound. place it in the new 24 timeline.

you can correct/change pitch if you want with other audio tools, ie audacity, audition, Soundtrack Pro, best ones(MPEX3, Pitch & Time, iZotope2)

[Chris Wright]

track it with mocha, then run this script.

1. mocha will sign replace a lot better than AE.

2. this will create a clean dirt matte that you can us for the alpha matte
to color correct it out. if you can’t stabilize it, try keying out the dirt.
https://aescripts.com/superpose/

[Chris Wright]

1. leave video interpretation as default, drop video into higher fps comp. turn on frame blending switch, Choose Layer > Frame Blending > Pixel Motion.
https://helpx.adobe.com/after-effects/using/time-stretching-time-remapping.html#frame_blending
if that isn’t smooth enough, try step 2,3,4.

2. inside premiere, interpolate the frames. frame blending on or optical flow(which is now natively supported in premiere)

“Exporting time interpolated media
The Time Interpolation setting in the Export Settings dialog box (File > Export > Media) allows you to change the frame rate of the exported file by leveraging Optical Flow to interpolate the missing frames.”

you have to render out to see the optical flow. it won’t playback in the timeline.

https://helpx.adobe.com/premiere-pro/using/duration-speed.html

3. in after effects, this method gives control over quality, smoothness and masking(if tearing occurs, precomp a masked video), although the setup is a little tricky.

precompose a video as its own fps. if video is interlaced, it needs to be placed in double its fps comp or deinterlaced first.

drop that precomp into a new 30 fps comp, right click timestretch 50%
then apply timewarp 50% to the precomp.

That will create,decimate and average movement out..as long as both numbers match(the timestretch and the timewarp #). The higher the number, the more interpolation at a cost of softness. filter-extreme will reduce softening of the image, but at a huge cpu cost.

here’s an example from 18 to 23.976. just change 18 to 23.976 and 23.976 to 30fps comp.
https://www.mediafire.com/download/l4a2jv2addg74oz/18+to+23.976.aep

4. compressor or fcp optical flow
Best High quality motion compensated
https://www.fcp.co/final-cut-pro/news/757-twixtor-verses-optical-flow-in-final-cut-pro-x-who-wins

[Chris Wright]

1. use shift channel alpha as lightness, then add effect-levels, its white and black point can now set that layer as an alpha matte for the footage below. now duplicate footage, set transfer mode alpha and you can modify selected portions of the b/w levels with hue/sat effect.

2. or just turn a video layer into an adjustment layer, set as mode color, add curves

[Chris Wright]

your problem isn’t the video codec, you need a directshow audio filter for ac-3 which is used in some dvd’s DTS decoding.

try this one. I’ve used it before and it’s free.
https://sourceforge.net/projects/ac3filter/
https://www.ac3filter.net/wiki/AC3Filter

[Chris Wright]

in almost all my templates, you have to replace the media/footage/video file with your own. That’s because it itself is used to “do stuff”.

Also the aspect ratio, comp size may not match your own, so you might need to run a jsx script to update composition parameters.

trust me, If I made .aex files, it would be fully automatic. I just don’t have time.

[Chris Wright]

ae cs5.5 blowout fixer will repair blow out sky and dark in 32bpc and now supports 8bit video in soft and vivid modes
https://f1.creativecow.net/6445/6445

dv to film has an edge blur feature taken from dct repair. you can unselect the texture, color, grain layers.

https://f1.creativecow.net/8107/free-convert-dv-to-film-with-slider-controls

[Chris Wright]

yes, i understand what you’re saying, but remember its extremely important to remove the telecine 3:2 pulldown before you edit or you’ll have spliced-jumped/destroyed 3:2 cadence patterns that can’t easily be removed without intelligent software like avisynth.

1. You need to remove the pulldown from the imported tape deck by reverse 3:2 pulldown PA in AE(right click interpret footage remove pulldown) or another app like compressor(reverse telcine) or Premiere ( Frame Rate, select Remove 24p DV Pulldown)
in other apps, PA’s actual technical cadence is 2:3:3:2 compared to 2:3:2:3
https://helpx.adobe.com/after-effects/using/importing-interpreting-video-audio.html

then you can drag it into in a 23.976 timeline. Your export youtube setting were pretty close. Just don’t use flicker removal or deinterlace. it should be VBR
progressive 23.976

-youtube upload spec requirements

https://support.google.com/moviestvpartners/answer/1679498?hl=en