[Michael Sacci]

Those are the correct settings. The “Same as Source” turns off the Deinterlace setting below it. This will give you the best encode from Compressor, if you are still not have with the results you need to look at a higher end encoder.

Never deinterlace and you really feel you need to. Keeping the field order in constant throughout the workflow in key to quality.

[Michael Sacci]

[Hugh C. Daly] “If it IS the BITRATE of the individual players, how do I determine that?”
Freezing and stuttered playback is a clue, what was your Bitrate?

There are also two files DVDSP puts in the VIDEO TS folder that need to be removed. .LAYOUT and .LAY

The two brands of disc are not recommended ones and DVD+Rs are never recommended (at least by me).

For disc you should be using professional level disc, I have use Maxell Plus series for year with almost zero problems and like Taiyo Yuden. If you buy them from a professional media place in bulk they are normally cheaper than the cheap disc from a retail box store.

[Michael Sacci]

[Noah Rodman] “H.264 compression”
That’s wrong, that is not an editing codec, you need to be going to ProRes

[Noah Rodman] “476×362”
That’s wrong, SD Video is always 720×480, then the pixel aspect is anamorphic 1.2.

But if your video was shot Letterbox you have to crop out the center and enlarge and stretch the image. You would have to export the video as 720×480 4:3 (or 3:2) and then in Compressor do a center crop. Take the Exported movie into Compressor and drop a ProRes preset jump to the Geometry Tab,
> In the Source Inset set, Top and Bottom to 60
> In the Dimensions set, Frame Size 720×480, Pixel Aspect: NTSC CCIR 601/DV (16:9) and you will have SD anamorphic footage.

[Michael Sacci]

[Bobby Cullipher] “Tried exporting; same as sequence, h.264, PNG, etc… all seem to provide close to the same results.”
NEVER NEVER NEVER export a sequence as h.264 in you are going to DVD, NEVER. And why would you ever try PNG. This is stated so many times. You export as Current Settings.

IF you are delivering on DVD you encode (with compressor, as 16:9 (the DVD will handle WS or 4:3Letterbox playback.) IF you need a Full Screen 4:3 that is another matter, post back if you need that.

Make sure you keep the field dominance as Upper (since that is what you are working with)
In Compressor turn on Frame Controls, set Resize filter to BEST. Keep field dominance set to As Original.

Change the encoding setting to CBR and set the Bitrate to 7Mbps.

[Michael Sacci]

Actual there is a reasonable way to fix the clips to use multi-cam, IF the camera’s TC was set on Free Run and not Record Run. Cameras do not have to match each others TC.

For each camera you note the beginning TC of the first clip. Then you change the starting TC to match the clips start. Place the clip into the timeline and then add in each clip from that camera matching the TC between the clip and sequence. SO anywhere the camera was stopped there will be a black hole. When you have all the clips from the single camera in its own sequence you export using “Current Settings” and make it self contained. Do this for each camera. You will use these new clips to make your multicam clip. You will have to find a common in point to sync them up.

IF you do not have Free Run TC then see Shane and David’s post.

But either way kick the camera guys in the butt. You NEVER stop a camera when you plan to do a multicam

[Michael Sacci]

Are they going to buy you 2 monitors? Working on a 13″ without a monitor is going to slow you down.

[Michael Sacci]

[Casey Petersen] “The shutter speed on this footage was at 1/50”
That correct.

[Casey Petersen] “Someone on another forum suggested adding a motion blur…what do you think about that?”
If you did, I would recommend a very light blur.

Check your Chroma levels, maybe reducing the saturation and lowering the highlights might help also.

I do think you are fighting a little bit because this is a different look from what you have been watching. Like I said I love the look of what you have, personally I like things a bit darker but your footage looks good.

[Michael Sacci]

[Jared Smith] “ACD”
That connection type has been dead for years.

You will need to get an adapter to go from the new Mini Display port to the Monitor’s DVI.

The 13″ does not have a dedicated graphics card, you need to make sure that will work okay with FCS.

[Michael Sacci]

[Casey Petersen] ” I suppose hollywood isn’t using Compressor or going to DVD before broadcasting.” I would say that COmpressor is not in there workflow, unless they are using additional plug-ins inside of compressor.

Turning on Frame Controls and setting the Resize filter to best will help with the scaling to SD. I think COmpressor does a very good job with the m2v encoding but not with the VBR method (which are what the defaults all). If you change it to CBR and can have the bitrate at or above 6 Mbps I feel you get better results. 90 minutes of video can use a bitrate of 6.5Mbps with ac3 audio.

CinemaCraft MP for the Mac is getting up into a professional level encoder at a modest price. A lot of people swear by BitVice but I have had mixed results and feel I can get as good and in some case better encodes with just Compressor.

Episode is another encoder plugin that is well thought of, especially for H.264 for web and BluRay.

I recommend at least trying CBR method with Frame Controls set to best and see if you like that better.

[Michael Sacci]

I took a look at it and to me it looked pretty good to me. I played it on my Sony Broadcast monitor via component and a consumer Sony via S-VHS. The one thing that is noticeable is the aliasing around the sharp edges of the canvas, which is to be excepted with the interlacing. But I didn’t think there was any bad jittering/strobing on the movement. I have also been shooting only progressive for years, even with DV we where shooting 95% as 24P with the DVX100s.

The encoding could be a bit better, do you have to use 120 minute preset? You do need to make sure the Compressor’s Frame Rate is set to 24P and not 29.97.