[Tim Kolb]

A little late to the thread…

When you’re layering the clip on itself, the blend modes can help quite a bit…for instance trying to bring up the shadows or smooth out the highlights (provided ‘curves’ won’t get you there alone), using multiply and screen to composite a layer with a correction can aid in trying to preserve the appearance of some tone scale.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

So, the issue is that the client used a codec that isn’t often used at that data rate when it’s temporally compressed (long GOP), and my guess would be that it probably is long GOP.

I’m sure H.264 was chosen as it’s a wrapper that can be dependably read on both platforms. I’m certain the image quality is excellent as HDcamSR is H.264 at 220 Mbits/s, and AVC-Intra is 100 Mbits/s…both respected production formats, and bot I-frame codecs, so for the bitrate, they’re actually less efficient.

To the point of encoding H.264…each encoder will do things a bit differently as there are a lot of moving parts in H.264…QuickTime’s compressor and Adobe’s compressor will make two different files with as identical settings as you can make on the same source material.

While I worry about QuickTime 7.x’s screwing up of H264’s gamma, I would suggest getting QuickTime Pro (downloadable from Apple for 30 USD), and try to use that to compress the material to the target bitrate.

I doubt there is a question that what you have is at an adequate quality level, but the compression is likely more efficient…before trying QuickTime, you could always attempt to run a clip out CBR at your set bitrate and see what it looks like. I usually like dual pass VBR for efficiency’s sake, but if the client wants a certain amount of bits, they’re already kind of distracted.

You could always give them the version you have as a “test” to see how it works…they may see the material and see what it looks like and move on…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

7.5 setup isn’t a component of analog NTSC in Japan, or PAL…

Analog Waveforms I’ve typically seen place black (0 IRE) at .3…but white is typically at 1.0.

What sort of footage is this and how did you bring it into the computer?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

The ‘border’ between the audio and video tracks can be moved by dragging with the mouse…good for when you need less room for one and more room to do detail work in the other.

My first reaction would be to check and see if that border somehow got moved to the top of the panel, leaving the whole thing available for audio tracks and sliding the video tracks off the top of the panel…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

You should be able to simply change the frame rate in the video tab…23.976 is the standard as it’s most compatible with a variety of frame rate television systems.

I wouldn’t export a 24 fps framerate sequence at 23.98 as the compressor won’t know that you want the frames to run a touch slower, so you may get a few frames where it tries to adapt to make the exported clip the same length.

I’d try to export at straight 24 fps, the way you intended.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Premiere Pro has always rasterized once on import…it’s not continuous like AE. Size matters. Any illustrator files I use are always larger than I need them to be in PPro in order to keep them clean. Since they’re vector files, they don’t much more space…

For a newspaper article, the issue will be the dots…newsprint dot density is low, so a scan turns into a matrix of dots and noise pretty fast when you zoom in. I always scan newsprint (after I have all legal rights for use, of course) incredibly high…800, 1200 dpi..then I bring that into photoshop and blur it a touch, deal with contrast, etc…then drop the resolution down to the level I want to use it.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Yes, once the free version is installed, you’ll find it in the export options. The key limitation is that you only have 4:2:2 10 bit HD for general use…the utility will convert GoPro 3D, but you can’t do other 3D, no 4K, no 4:4:4, etc.

It’s still extremely useful for no cost.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Uncompressed AVI is going to be gargantuan…I might suggest you download the free CineForm codec from GoPro for such purposes.

When you export, you can set the framesize, etc in the video settings tab.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

If you’re trying to save something “lossless” I assume you want to stay at the original HD frame size/rate?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[EricBowen] “Also pages like this seem to state that the DCT processing creates the Mpeg Iframe for DVCPro HD. Is that accurate? Is that the same with other DCT processed codecs?”

The article you link to is specifically comparing MPEG2 to H264 (MPEG4), and refers to long-GOP compression…

The transform isn’t the data compression really…it’s the quantizing/tossing-out process that decides how (and how much of) the data is going to enter the process of data compression in the first.

DCT is run on video frames for many of the video codecs we’ve been talking about with the exception of codecs that uses a wavelet transform like JPEG2000 (basis of Grass Valley Infinity and REDCODE) or CineForm.

It’s similar to the process of 4:1:1 or 4:2:0 or 4:2:2 color subsampling…that is done prior to the actual compression. Video compression is so effective at reducing the size of video data as much due to what data is simply ash-canned before the process even starts as it is because of the actual “compression” employed.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor