[Ivan Myles]

Glad to help. By the way, my comment referenced IRE units, where 7.5 IRE = 16 on the 0-255 scale, and 100 IRE = 255. If you use a bright point of 170 (out of 255), it should correlate to about 67 IRE on the YC scope.

[Ivan Myles]

– Are you sure you are looking at the Program Monitor and not the Reference Monitor?
– Is there a secondary display set up in Preferences?
– Do you have a separate video I/O card installed on your computer?

[Ivan Myles]

It depends on the footage. The recommended technique is to use the scopes to keep the Y and RGB values within 0-100 IRE, and the chrominance values within -20 to 120. (Check the delivery specifications, if available.) Adjust the Input or Output black and white levels as appropriate for each clip. If there is part of an image that is known black, for example, adjust the black point until the lowest point on the scope is either 7.5 (for broadcast delivery) or zero (web). Similarly, adjust the white level to ensure the highest point is within range. The following video provides more information:

Premiere Pro CS6 Techniques: 52 Color SIX: Output Levels

[Ivan Myles]

Thank you for posting the detailed information. This might be a media player issue; I have experienced similar problems in QuickTime with High Profile H.264 videos. Try importing the encoded file into Premiere Pro to see if the issues persist. Also, for higher compatibility use Baseline or Main Profile instead. Try encoding a test clip using Baseline @ L4.1, 2-Pass, Target BR=50, Max BR=50, Key Frame Distance=12. This should produce a 480p file around 7-8Mbps at 24fps. Also, on the Multiplexer tab check that Stream Compatibility is set to Standard; it defaults to iPod.

[Ivan Myles]

I do not have experience with that workflow; perhaps others can comment. Try processing a short test file to identify any issues.

[Ivan Myles]

Note that my previous recommendations were not encoder-specific. I shall defer to other posters regarding instructions for Compressor.

Are the options that you suggest right for mpeg 2?

– Yes. The biggest factors will be bitrate and quality level.

Is multi-pass VBR the same as Two pass?

– For the purpose of this discussion, yes.

Where do i find in compressor the key frame distance?

– In your previous post refer to the MPEG parameter “Closed GOP Size” and the HDV setting “Key Frame Interval.”

Is there on the camera a precise option for shooting in progressive?

– I believe the Mark ii shoots progressive.

Could that be caused by an excess of Noise reduction plug in?

Anything is possible, but the most likely causes are low bitrate and quality levels.

[Ivan Myles]

Create a submix track, open the Audio Mixer, and change mapping for the two desired tracks from “Master” to “Submix 1”. You can then insert keyframes directly on the submix in the timeline panel.

[Ivan Myles]

It depends on the footage and your delivery requirements. I would probably start with a resolution of 1280×720 and 1:1 square pixels. The choices for managing frame rate are as follows:

– Insert clips directly onto the timeline; Premiere Pro automatically drops every fifth frame of the 30fps footage or repeats every fourth frame of the 24fps footage

– Enable frame blending; Premiere will overlay neighboring frames to smooth the motion

– Slow down or speed up the clips; note this can create issues with audio pitch or synchronization

– Interpolate new frames using After Effects

I recommend creating a timeline at each frame rate and testing a few clips to see which approach works best. Also, how will the delivered file be displayed? Most monitors and projectors refresh at 50Hz or 60Hz based on the input power frequency.

[Ivan Myles]

Looks like banding and quantization artifacts. This behavior is inherent to high compression encoding. Here are some options:

Encoding:
– Increase the quality levels (I’m not familiar with HDV settings, but you might want to boost the minimum levels and maximize the upper levels)
– enable multi-pass VBR
– increase the encoding bitrate
– reduce the key frame distance

Editing:
– add light grain or noise
– replace the soft gradient with a texture or solid color

Also, is the source material progressive or interlaced?

[Ivan Myles]

[Timothy Klien] “Wmv files are kinda outdated and most people that want them, dont know that they can use other codecs.”

Or they have other requirements. For example, 42% of computers run Vista or XP, which don’t have native H.264 support.