Roger Hendrick
Forum Replies Created
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That may be true, it’s an old plugin. All it does is map the full RGB to the four subpicture colors in a fixed way – all reddish colors get forced to 255,0,0, blueish get pushed to 0,0,255 etc. If you start with using the correct subpicture colors to begin with you don’t need it. They are 255 RED, 255 BLUE, 255 WHITE and 0 BLACK. If you use Index Color mode and set it to those 4 custom colors olny you’ll get the right output (no surprises).
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
You could also try reducing the noise before sharpening.
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
Now I’m unsure if you’re talking about the background or the subpicture overlay (or both).
Maybe you could post it for us to look at.
I didn’t realize I was on the Encore forum so take my comments as DVD spec related.
Most DVD Authoring programs, when importing still menus automatically encode the MPEG2 still at 8Mbps, so it wouldn’t necessarily get any better if you encoded it on it’s own (as a video clip). You may try to import using a TIFF instead of a PSD.
You need to make sure you’re looking at, and providing, what is required (and limited) for DVD. In it’s most basic form – a TIFF (or TGA), RGB, 16bit, flattened, 720*480 (for NTSC), 72 dpi, square pixel (you should compose with pixel aspect correction)… avoid serif fonts (or any small fonts), respect title safe and NTSC color gamut and remember that all DVD playback is inherently interlaced. Thin lines can “buzz”. Pay attention to the overall complexity of the menu. Since the encode is MPEG2 there are only so many bits to go around. Gradients and small patterns can lead to compression artifacts where you don’t want them.
Remember, DVD’s were meant for SD CRT TV’s with analog component video. Computer playback and plasma/LCD monitors came later. Make sure you have a good reference monitor and an assortment of players, at least something you trust. Then you can suss out the results coming from players that upscale (or don’t), flat screens with different refresh rates and computer playback which may be software de-interlaced… all of which can look a little different.
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
You can map a single pixel outline (one other color of the four allowed) to a different color or opacity and achieve a “dithering” effect. I’m assuming you’re using full raster text on the menu background and using the subpicture overlay to be the “highlight” – in these cases I use font effects (drop shadow etc) in the back ground such that they will obscure the aliasing of the subpicture overlay (keeping the subpic text inside the background text and not using 100% opacity).
Here’s a quick example.
I always save my subpictures in Index Mode using only red, white, black and blue so I’m sure my aliasing is even and the lines are crisp. When high bit color images are sampled down to 4 bit the interpolation can be really messy and unexpected.
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
Personally I would do this in a 3d package (Maya, Softimage, Cinema4d etc). Projection map inside a sphere, keyframe camera FOV… easy peasy.
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
Do you have a system restore point you can go back to?
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
If you have the Apple ProRes Decoder installed then yes, and it works great.
FYI you can export to ProRes on the PC (from proxy all the way to 4444) using Debugmode Frameserver, AviSynth and FFMPEG (faster for me using FFMBC). Works fine with Premiere CS6. Not as hard as it looks… Also Telestream Episode Pro encodes to ProRes.
If I have a lot of videos coming out of Premiere/AE I’ll go to an intermediary uncompressed mov then batch with FFMBC or Episode (watch folder) to ProRes. This way we’re all using ProRes in a mixed platform studio.Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
I can use 8 bit 300dpi TIFFs with no issues. I can also use Dynamic Linked AE projects for 16bit TIFFs and they play in the Premiere timeline fine. My images are 6480×4320 @ 300dpi 8 bit.
I tested my setups here at my desk for you.
Premiere CS6 6.0.1
Windows 7 64 – 16GB RAM
i7-2600K @ 3.40GHz (over clocked to 4.5GHz)
GeForce GTX 570 (Mercury CUDA Enabled)OSX 10.7.4 – 14GB RAM
2x3GHZ MacPro 3.1
Radeon 5770 (Mercury Software only)When you import a 16bit TIFF there is an error regarding an unsupported video bit depth.
What you’re describing looks like purely a display card issue. Have you tried exporting your sequence to mov and seeing what comes out? Can you get video sized stills to show up in your UI? Have you enabled/disabled the Mercury hardware setting in your Project? Do AE linked projects show up?
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
Yes. Note that it will paste all effects, so if you have color effects or opacity on your clip those will also be copied.
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring -
You can apply the fades to one clip, then copy and “paste effects” to the rest.
Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring