Vincent Rosati
Forum Replies Created
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I usually do audio repairs in Audition. You could try Hiss Reduction. Or, there’s a Noise Reduction filter, if you have a section that is just the hiss and nothing else, you can select that portion and capture a profile of the hiss, than select the entire file and it will remove the noise/hiss from the whole thing. It’s a pretty cool tool.
Vince
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Check to make sure the length of your audio and video tracks are identical. Adjust if necessary.
Than, if you’ve created chapter points in Premiere, you may need to adjust them in Encore.Stick with the option to create a DVD folder (TS_VIDEO folder) on your hard drive. Than use a dedicated burning app, like Nero, to do the actual burn.
Vince
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I don’t think you can use AME to create a disc, but Premiere has a disc creation function. I never use that though, I’ve tried it, but I’ve had problems.
When are you getting the crash in Encore? Are you getting an error code?
Regarding the transform settings for the pics, I cant find my notes, and I’m in a crunch right now. I can’t say when I’ll have them. 🙁
Vince
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Your export file may be uncompressed. I’m not sure if Elements has Adobe Media Encoder, but you would want to compress the export, for a smaller file size – mpg, wmv, mov. There should be presets, regarding settings.
Vince
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I think I gave you the wrong transform settings for the PAR correction for still images. I’ll check it out…
Vince
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Titles should have Video Effect/Blur/Gaussian Blur = 0 applied to them. It improves the render quality.
Stills should be ‘de-flickered’, R-Click Field Options/Flicker Removal.
Square Pixel Images should also be transformed for Pixel Aspect Ratio correction. Don’t use Interpret Footage, in the clip properties. Use Video Effect/Distort Transform.Square Pixel to 4:3
Scale width to 90%
The image will appear to be squeezed horizontally.Square Pixel to 16:9
Scale width to 120%
The image will appear to be stretched horizontally.Yep – I’d go with Progressive. 🙂
You should nest your final sequence in a sequence called ‘Broadcast Color’, and apply Video Effect/Video/Broadcast Colors to the whole project, since this is destined for display on a CRT.
This will be the sequence you will use for your final render.I would do another small test render that has an example of everything; a title, a pic, a transition, a high motion portion, etc. You could nest the Broadcast Color sequence and clip it down to less than a minute.
Again, test for compatibility with Encore, and burn it to DVD-RW so you can see it on a CRT. Look for flickering in the titles and pics. The Broadcast Color filter also helps control flicker and remove colors that can cause a high pitch noise when your source has colors that are outside of the broadcast range.Very close now. 🙂
Vince
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Ideally, you should clip to scene during capture. It’s better to have a bunch of small clips than one big one.
If your source is MPEG, you should decompress or recompress to a lossless codec before import and editing.Vince
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Oh 24a, I can’t really speak to that. The i in 1080i indicates that it’s interlaced, but 24a is a method I’ve never worked with. Here’s a thread I found that discusses it…
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i’m wondering, does this camera in fact capture at 24fps? or just gives the effect of 24p but in reality fims 30… or 60… or whatever HD films at.Well, you hit it on the head! The V1U captures at 30fps (or 60 interlaced frames per second). Interlacing here is the key for the 24A mode (note. 24A is NOT 24p). What the camera does, is sample the image at 24 full frames per second. As it can only record 60i, the camera does some tricky stuff with the 24 full frames and interlaces the full frames so that they are spread out over the 60 interlaced fields.
That means that when you do a reverce telecine to the 1080i60 footage, the full 24 frames are pulled out of the 60i stream.
The difference between 24A and 24p is to do with the HDV compression. HDV doesn’t create a full image for each frame like DVCAM does. Because HDV uses MPEG-2, it creates what are called temporal frames, which are frames that only record the data that has changed from the last frame.
To do a reverse telecine (and get the full 24 frames) the footage has to be captured and written as a full image for every frame. hence the use of apple intermediate codec. (or in FCP 6, you should use the ProRes 422! :D)
but there is a problem…Because 24 doesn’t divide by 60 very well. (0.4) it means that recording in 24p will cause some 24p frames to be split between 2 different 60i frames. Thats where 24A comes in, 24A messes around with the timecode of the 60i recording so that each time you record a 24A shot, the timecode starts on a full frame rather than the second field in a frame. this means that your timecode will be broken and unusable if you shoot 24A.
###########################################################If you’re scaling down HD interlaced to DV, that would damage the interlacing, as far as I know.
Interlaced footage should always be deinterlaced before any scaling is done.If you get a chance, fill out your profile with your hardware & software specs.
I’m not sure of a correct workflow for HD to DV conversion. Now, I’d say you should be editing in a progressive DV project, as your goal is DVD, and export as progressive. You could try right-clicking on the clips in the timeline and set to Always Deinterlace. It’s not the best method, but it might do the trick.
Vince
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You said
“So, when I import that into AME it should not do any processing…”
I assume you meant importing to Encore? You should test your short test encodes by importing them into Encore, to make sure that your encode settings are Encore Compliant.Correct, there shouldn’t be any transcoding, and the track info will indicate ‘Do not transcode’, or something to that effect. If the file is not compliant, the transcode would occur during import.
The resulting single file is due to selecting Multiplexing. Otherwise, you would get two files. I would only consider not multiplexing if I had a reason to think I may need to do additional audio tweaking.
Multiplexer, Variable – yes.
Your settings seem okay, although I’m not sure about the Progressive Field Order setting. If your project is Interlaced and you encode it with a Progressive flag, it may not display properly on DVD hardware. If your Source and project are interlaced, the Field Order for NTSC should be set to Lower.
Your bitrates seem fine. A high-end vbr bitrate would be 8000/6000/3825, but your settings seem fine. The main thing is that the file fits on a disc.
Almost there. 🙂
Vince
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Hey Lillian- Regarding CBR vs. VBR, and MPEG encoding in general, is quite complicated. AME gives you a glimpse into the complexity, but if you were to use Main Concept MPEG Pro, you would see how complex the decision process can be. I can’t fully explain because I don’t fully understand it.
Every commercial DVD that I have ever examined uses VBR. VBR allows for high bitrate spikes during high motion portions, and low bitrate/low data size savings during low motion portions. This is to say that VBR has less artifacting during high motion portions, compared to CBR.
I’m not sure how accurate AMEs file size estimate is, when preparing a VBR encode. So your encode could result in a file that is too large, and you would have to recalculate and re-encode.
A benefit of CBR is that you can reliably calculate the data rate of a given length program to fit on a certain size disk.
See this thread by Jeff Pulera:
https://forums.creativecow.net/readpost/205/872409
Although I can’t say this for sure, there might also be increased reliability in using CBR on burned DVDs, as opposed to pressed DVDs.Personally, I always use VBR.
Regarding 2-Pass, definitely use it. If you are familiar with JPEG compression, you know it looks at a block of pixels and interprets th eblock into the JPEG matrix. With MPEG video, there is a temporal factor that is added, in that it looks at the block of pixels and than compares it to that block, forward and backwards in time. 2-Pass doubles the amount of processing, for a more accurate interpretation.
I’ve probably said too much 🙂
I hope this helps,
Vince