Terje A. bergesen
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Hello Juan,
I have used Ulead Media Studio Pro for a few years and I finally converted to Vegas this spring. I am much more productive in Vegas, and I can do things in Vegas that are simply not possible in Media Studio. The one thing that finally made me convert was fairly simple, but it put me over the top. I had to create a video snippet where I had one main video and a second running in the top corner (Picture in Picture style). The video in the corner was comprised of a set of clips, and I needed them to be synchronized with the main video. I also needed to have transitions (and that was the biggie) when the PIP moved from one clip to another.
The only way to do this in Media Studio would have been to first create the PIP (small) video with all the transitions and then insert it into a new project with the main picture. A pain. In Vegas it was dead easy and accomplished in a couple of hours. I understand that this may be fixed in version 8 of Media Studio. I do not think I will go back though, the way Vegas works is just so much easier. Applying a 1 second transition is in fact a lot faster in Vegas than it is in Media Studio simply because I know exactly how long the transition will be when I overlap the two videos. Doing the same in Ulead means adding the 1 second transition and snap the videos to it. If I want to change the duration of the transition I will have to change the length of the transition then snap the two (or possibly just one) videos to it again. In Vegas I just make the overlap a second longer. Far easier.
I find it odd that the rendering time is slower in Media Studio than it is in Vegas. I do not find that there is any significant difference. Can you please describe a little bit about what you are doing in the project and what you are rendering to?
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1700 RPM
Herein lies a small (possibly significant) problem. 1700 RPMs divivided by 60 seconds in a minute gives you about 28 rounds pr second. If your camera is an NTSC camera, it will snap almost exactly one frame pr round. In other words, slow it down and it won’t be particularly insightful (if they are looking for something in particular). Just blurry.
I don’t know that much about cameras, but would be surprised if you didn’t need a specialty camera for this.
Feel free to correct me, I’m eager to learn.
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Why would 24p video at the same bitrate as 30i video be of higher quality than the 30i video?
The bitrate is a measure of how much information is being used to create a time period of video, for example 1 second. Assume 1 second of video at a bitrate of 5MB pr second. If you have 1 frame/second the encoder has the ability to use the entire 5MB to paint that one frame. If you have 30 frames in the same second, each frame can obviously have less data (1/30th of the 5MB available), and will therefore be of lower quality. This is overly simplistic, but close enough.
The more frames/second your vide has, the higher the bitrate has to be to create the same quality of each individual frame.
That your 24 fps video was larger was due to the fact that it had a higher bitrate. Calculating the bitrate when the encoder is creating a video file will never be 100% accurate. It is difficult for the encoder to know exactly how well your video can be compressed.
But what I’m understanding from you now is that a 6,000,000 CBR 24p video is in fact of *higher* quality than 30i, because it contains 20% less data than a 30i file and therefore is using the same bitrate for *less* data, resulting in higher quality. Am I following you correctly?!
You are following me correctly.
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video of similar quality (and similar bitrates), when in 24p form, takes up less space than the same video in 29.97 form
The sentence over is actually not making sense, and I think this is where the confusion starts for you. Let’s look at it bit by bit (the no-sense part).
Video of similar quality and similar bitrate…
If you have two pieces of video 24 and 30 fps, and they are of “similar quality”, they will be of different bitrates. If they are of similar bit-rates, they will be of different quality (the 24 will be of better quality). Is that hard to understand?In other words, it is not possible (with the same encoder) to create two films, 24 and 30 frames that have similar bitrate and similar quality. Either they will have similar bitrate (and the 24 fps will be of higher quality) or they will have different bitrate (24 fps will be lower) and they will be of similar quality.
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I run Alienware. Great stuff. Fast. Cool looking. Excellent.
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Also remember, if it can be decrypted (and it has to be in order for someone to see it) it can be encrypted by anyone, including someone who wants to copy it. It is always just a matter of ingenuity and determination.
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As has been pointed out in this thread, you can’t do it with your DVD burner. I also am not sure of the value of this. If someone wants to copy your DVD they can do that easily enough whether you copy protect it or not. It will only take an extra few minutes. With the software out there, it is basically a one-click process, and the software is free.
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[Taynt3d] “My problem: trying to render the 16:9 image into a letterboxed 4:3 video”
Just out of curiosity, why would you do this? Would not rendering as 16:9 be fine and let the TV handle the letterboxing?
I can understand if you would like to “pan-and-scan” it, in other words zoom in on the video and edit it as pure 4:3, but I don’t understand why you would want to render as letterboxed 4:3.
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No worries mate, I was just surprised considering the fact that significantly cheaper Panas shoot in true 16:9 without an adapter. Good luck wity your project.
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Are you sure the DVX100A adds black borders top and bottom? If you create a 16:9 aspect ration project in Vegas and put the footage on the time-line, are the borders still there? If they are not, the DVX uses the same method as other higher-end Panas to create the 16:9 aspect ratio, and you should edit in 16:9.