Daniel Low
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I always prefer to have the reference clip as going straight to compressor has caused problems in the past.
The Adobe document quotes this “Always render a deinterlaced (progressive) version of your video before encoding to FLV”
I’m guessing the reason they said that is that not all encoders have a deinterlacing filter?
The bottom line is that if you are delivering to progressive output then you need to deinterlace if you are using interlaced source, if you are using progressive source there is no need to deinterlace.
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Why do you export to ProRes? – Exporting out to ProRes nearly doubles the bitrate compared to DV (42Mb/s vs. 25Mb/s of DV) Check out this Whitepaper on ProRes
https://images.apple.com/finalcutstudio/resources/white_papers/L342568A_ProRes_WP.pdfIt’s best to leave the resizing (and deinterlacing) to Compressor.
When exporting a finished program/sequence to a transcoder (compressor in your case) on the same machine I generally export as a non-self contained clip at the current sequence settings (in your case DV PAL). This avoids any kind of format conversion, it’s fast and the transcoder gets exactly what it needs, no more, no less.
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Progressive source is always better than interlaced source when delivering to a progress output as there’s no need to deinterlace.
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Have a look at these:
https://www.metakine.com/products/dvdremaster/
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Indeed you are correct, the more you process video the more the quality deteriorates. As such the best way to archive your media is too leave it as DV.avi.
One could suggest converting it to high bitrate MPEG-2 which would reduce the space taken and reatin much of the quality, but it would also make it more difficult to go back and re-edit/re-purpose.
Storage, especially slow offline storage is so cheap these days.
Obviously you could also keep your MiniDV tapes as a second archives/backup.__________________________________________________________________
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Cinepak is NOT an archive file format but rather a delivery format. It’s extremely old and very very poor quality.
Standard MPEG-2 is not really an archive format either, although people do archive I-Frame only MPEG-2 at 50Mb/s, this is not what you’ll get out of Adobe Media Encoder which is designed to produce MPEG-2 for use on DVDs. Comparing Cinepak to MPEG-2 is like comparing a steam engine to a V8 twin turbo.
I’ve not heard the phrase, ‘burning to tape’, burn to disc yes, print to tape yes, lay-off to tape yes.
If you tell us what source format you work with DV, HDV, DVCAM, Digibeta etc, we’ll be able to much better answer your questions.
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Firstly there’s no ‘neat’ way of converting a ‘Mov’ into an ‘AVI’ One has to be transcoded into the other and any transcoding will have a quality hit.
IMHO a product that only accepts AVI is a poor product and in your case may well have serious workflow implications.
You might like to check out this site to help make a decsion:
https://codecs.onerivermedia.com/
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JPEG2000 is being used in Digital Cinema and is therefore considered high enough quality however it is not recommended for use with field based content, so unless you work with 100% progressive material it’s not your best choice.
This site should help you decide on the best codec:
https://codecs.onerivermedia.com/
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Ok lets start with the very basics:
Pick a frame size, say 320×240.
Pick a codec, say H.264.
Pick a frame rate, say 30fps if you are from America or 25fps if you are from Europe.
Pick a data rate, say 500 kilobits per second.Encode a short test clip.
How does it look?
If it looks rubbish then increase the data rate a bit at a time until it looks good.
If it looks good then you can drop the data rate until you have a good balance of picture quality vs. data rate.
If you want a bigger frame size then you need to increase the data rate.
Let us know how you got on.
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Fair point-I should have given that some thought, it’s been while since I’ve been in DV land.