[Jeff Greenberg]

It’s not transcoding – It’s copying the data, bit for bit from the camera and placing it in a Program stream. A transport stream would be m2t.

It’s an MPEG-2 file, running in 4:2:0 color space at approx 25 mb/s

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
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[Jeff Greenberg]

According to this page CS review is free till next year (April 12th.) I suspect, if you keep on the upgrade path, they’ll keep throwing in the cost of – but at very least you have a year!

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
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[Jeff Greenberg]

Are you sure they’re 48k files 16 bit audio? Premiere Pro just links to existing files…

If you want to post one, I’m happy to download it and examine it both in and out of Premiere Pro.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Jeff Greenberg]

[Fred Pedersen] “The outputted file says its data rate and total bitrate are 2435kbps. In premiere I’ve set the target bitrate to 240 Mbps (the max as far as i can tell) for VBR and 300Mbps at CBR and still the filesize is small, about 10mb, and has the same problem. I’ve set the ‘level’ to 5.1 as I get the impression this limits quality when lower?”

h.264 is definitely going to give you the best results.

How are you determining the outputted files data rate? You’re writing it kb/s – and some stuff in Mb/s – let’s make it all Mb/s. Your outputted file is at 2.5 Mb/s, yes? Working backwards – a 10 mb file @ 2.5 Mb/s means your original is around 30 seconds?

In Premiere Pro, you’re saying you’ve set the target bitrate at 240 mbs? On export of Media right? That should yield a HUGE file. 100x 2.5mb/s
When I open Premiere Pro and adjust the Target bitrate, the estimated file size at the bottom is adjusting as well (it is for you too, right?)

5.1 is the fifth revision – it’s a compatibility level – some devices won’t handle 5.1 complexity (but all computers will).

Sorry to ask this – you have Use Ma Render quality ON and use Previews OFF, right?

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Jeff Greenberg]

It’s a DVI cable.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Jeff Greenberg]

There’s a command in MC called “recreate title media”

Try that (no, I don’t have the XML transfer tools, but from what Peter and Jeremy suggested it might do the trick.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Jeff Greenberg]

[Ashraf Aziz] “1) define to me in brief the different Adobe Pr. Pro CS5 sequence preset video formats (which of them are compressed and which are uncompressed .. editable or non-editable etc.) to enable me to better select the most appropriate high quality format. “

Premiere Pro handles everything natively – it doesn’t compress anything at all. If you build a preview/render, it gets thrown out, and redone at the final output quality (unless you force it to do otherwise.)

[Ashraf Aziz] “2)Is there a way to know in Adobe Pr. Pro CS5 what is the format of the video captured from Open to air satellite using the Black Magic Intensity Shuttle ?
“
The moment it’s captured, it’s based on your capture settings, and no long whatever format is Open to air Satellite.

[Ashraf Aziz] “3)If I shoot my video with AVCHD full HD format (Panasonic) , which sequence setting do I choose if I want to prepare my footage to be broadcasted on a local PAL HD satellite ?”

Match the footage to a sequence preset. Use whatever format they tell you via the export Media or Adobe Media Encoder at the end of the chain.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Jeff Greenberg]

The larger the data rate, the larger the finished file. 300 kbs is probably too low. Try 1,000 and see if the problem goes away.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Jeff Greenberg]

Wes, I’m going to give it my best shot to answer these. I really think that there is no free tutorial out there; for your questions, it’d be best for you to either take a class or read a book. (Yes, you have to indulge me this for such a long post.)

And before anyone else starts to pick at little things – this is a big broad overview. I’m taking some liberties, okay?

[Wes Bail] “I have my footage and I want to start putting clips together. Is Premiere Pro my first step? What Premiere project settings should I choose (even if this is not the first thing I do)? “
Premiere Pro is your hub for importing and assembling a timeline. So it’s the first step.
Your sequence ought to match your footage – any downscaling/framerate change ought to be the last step you do to maintain the highest quality throughout the workflow.

[Wes Bail] “I have a clip that needs something done to it in After Effects, what project settings should I use in AE? Do I match footage, or output? Do I match final media output, or something that Premiere would want?
“
Match your original source footage (assuming you’re not using 10 different types of media. Again – see about – keeping the footage as pristine before the last step keeps the quality as high as possible.
Know that because of Dynamic linking, you can push stuff from Premiere Pro to AE without any problems. And because of Dynamic link, you’ve got an AE comp in Premiere Pro, not a QuickTime or AVI file.

[Wes Bail] “I need to create a graphic in AE, what settings should I use in AE now that I am not using any footage?
“
The type of your main footage. Then you can place the AE comp in Premiere Pro

[Wes Bail] “How do I get things from AE into Premiere? What file types should I use? Or should I even be collecting all the clips in Premiere over AE?
“
Dynamic link makes this easy. You just send it from Premiere Pro and AE comps show up as footage. You could always use QuickTime + the Animation codec, but I’m striving for easy.

[Wes Bail] “Once I have my project built in Premiere, how do I get it into Encore? What file types?
“
Once again, Dynamic link lets you send a sequence from Premiere Pro to Encore with no output file. It ‘talks’ to Encore for you.

[Wes Bail] “What (if any) settings in Encore are important?
“
Blu-Ray, SD or Flash? Which do you want?

[Wes Bail] “Are there any major procedural differences between outputting to DVD or Blue-Ray? Does this decision need to be made at the start, or can you do it so you can go either way at the end? “
Kinda. You shouldn’t switch (can’t recall if it’s possible. I’ll just say no, it’s not.) Everything is scaled differently – Pixel Aspect Ratio, frame size.

[Wes Bail] “Where are the random sneaky little options that should be checked that make a huge difference?
“
Hard to say? Make sure you get your audio tracks right at the beginning?

[Wes Bail] “Or is there some reason that VBR should be used even in that situation?”
VBR does generally help, especially if there are graphics, even at a high bitrate.

[Wes Bail] ” If you 100% absolutely need to have a MPEG-2 file to make a DVD, that would be nice to know ahead of time. Things like that…. “
At the END of the process, if you’re making a SD DVD, yes, you 100% have to have an MPEG-2 file. But that’s what Adobe Media Encoder does for you.

[Wes Bail] “As I mentioned, I would be a little surprised if a workflow outline with all this information didn’t already exist. Plus, I would feel a lot better moving into this project with at least a basic understanding of the full circle. Not having to worry about every step if it is going to work or not, or if I get all the way to the end have have something I am embarrassed to present.”

It appears that way, that there should be ‘something’. Right now, there are a dozen or so camera codecs, at least 5 different frame sizes, six or so different frame rates, and 10 types of output possible (Some of that I’m making up.) But to give you an idea, right there thats, 3600 possible combinations.

I hate to say this, because you’re asking all the right questions (these are GREAT intelligent questions). This is why you work for someone else – so you can apprentice and learn these tools and the order/procedure you should use them in.

One tip is to actually push something through your whole workflow before you start to shoot so you can test the workflow.

[Wes Bail] “If my footage is already over the bit rate limit for a DVD and therefor being bottlenecked in that format, why do I get fragmentation when professional DVDs do not? And if the answer is “Because their camera costs $42,000″ I will accept that.”

Your footage would need to be recompressed to a data rate that’s compatible with DVD.

Whew.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Jeff Greenberg]

I am sure that FCE is NOT good at chromakeying.

Bang the work over to AE and use Keylight.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
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Contact me through my Website