Ivan Myles
Forum Replies Created
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Most computers and online video sites support multiple formats. If you plan to burn a DVD disc that will be readable in DVD players then use 23.976fps video and 48kHz audio.
Transcoding should not be necessary as long as Premiere can read the source files. Create a sequence to match the video from the GH2 (23.976 fps) and the audio from the TM700 (presumably 48kHz) unless your delivery requirements are different. The video from the TM700 won’t matter if you are only using its audio stream.
For online and computer viewing you will likely use the H.264 codec with frame rate and audio sample rate aligned to the sequence settings. Use the MPEG2-DVD preset for a DVD.
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What are the project and export settings for bit depth? What is the bit depth of the point light effect?
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[Kevin Cotterill] “Thanks for the list of alternatives. Would AME be a viable alternative or do you recommend going with one of the others you listed?”
Adobe Media Encoder can render files using different codecs, including the three mentioned. It is a better choice than After Effects to encode H.264 files because After Effects does not support 2-pass VBR.
Regarding the codecs, ProRes and DNxHD offer similar performance. ProRes is a common choice on Mac, but it is read-only on Windows. H.264 is best suited for delivery and offers good quality at compressed data rates. For professional applications AVC-Intra is a 4:2:2 10-bit version of H.264 similar to ProRes and DNxHD. I don’t think AVC-I can be uploaded directly to online video sites.
Ultimately expect to encode multiple versions of the same project depending on playback requirements. Create a few H.264 copies directly from AME at different bitrates and resolutions, and keep a ProRes/DNxHD/AVC-I version on hand to generate new copies quickly without re-rendering the entire AE/Premiere project.
[Kevin Cotterill] “I tried what you said about importing a comp into AME and it worked a charm. I formatted to H.264. There is definitely a loss of quality but it’s only small.”
This is a big topic, but one simple thing: go to the multiplexer tab in the AME H.264 settings and change iPod to Standard.
[Kevin Cotterill] “So basically it means I don’t have to render a lossless file and then compress. I can just compress direct from the project, right?”
Yes.
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The prior comment refers to exports from a 1280×720 sequence, as you had already recommended.
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Going back to the original post:
[Dave Andrade] “I know the Canon cameras record in the mov h264 format…but recording in RAW, you have more latitude in post to make adjustments.”
DLSR’s can save RAW photos, but video recording options are typically limited to H.264. Check your camera specs to verify the supported formats.
Intermediate encoding may not be required if the project can be processed within Creative Suite. Import the source files, edit and apply effects in AE/Premiere/etc with dynamic links between programs, and export a compressed file using Adobe Media Encoder as Walter described.
A high bitrate, all intra-frame, 422/444, 10-bit codec is preferred to transfer a file to another application or to create a master. DNxHD or AVC-Intra should meet your needs on a Windows system. Be sure to increase the bit depth of your After Effects project to 16 or 32 bpc and export with trillions of colors (if using AME, set Depth to 48 bit and enable the Render at Maximum Depth setting).
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Ask the client whether 884 or 886×498 and 316, 318, or 320×498, are acceptable. You can export 316×498 from Adobe Media Encoder with a custom aspect ratio of 14:5 to produce a 16:9 image.
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[Kevin Cotterill] “If I render lossless, the file is too big and doesn’t play full speed. If I render H.264, I lose too much quality.”
Uncompressed and H.264 are on opposite ends of the continuum between high quality and high compression. Uncompressed files require 32-48 bits per picture element (bpp), while H.264 can use fewer than 0.5 bpp.
Alternatives for high quality encoding with intermediate compression include ProRes, DNxHD, or maximum quality H.264 (maximum target bitrate, VBR 2-pass, key frame distance = 1 using the Adobe native H.264 codec, not QuickTime H.264). It’s overkill but ensures optimal quality from your end. All three formats can be uploaded to YouTube and Vimeo.
[Tudor "Ted" Jelescu] “It is best to render a final master with a lossless codec and then use AME (Encoder) to compress.”
Adobe Media Encoder can render After Effects projects directly without an intermediate file. Open AME and add the After Effects project to the queue. Click on either the Format or Preset shown in orange text for the project. AME will create a dynamic link and then open the export settings panel (same as Premiere Pro).
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Drag the sequences from the Project panel onto the timeline. It will bring both the video and audio.
If the sequences are in different files, import the files into your master project and then drag the sequences into the timeline.
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In the Audio Mixer click the Solo button next to the track.
Alternatively, from the timeline panel, shift-click any of the audio track icons (the eyes next to the tracks) to turn off all tracks and then enable just the desired track.
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Depending on the requirements you might consider an audio interface rather than a mixer. They provide greater I/O flexibility (USB, firewire, XLR, 1/4″ line, digital coax) and a software interface for mixing. I use a MOTU, FWIW, but other brands are available.
